The use of folklore elements in the process of conducting a theatrical performance. "I am a folklore element, I have a document"

Nekrasov's poem is a storehouse of folk wisdom.
The first lines of the Prologue are reminiscent of a fairy-tale beginning. Beginning - the traditional beginning of a fairy tale: In what year - count ...
Almost all the characters are called by their first names, but the last names are not indicated: Roman, Demyan, Luka,
Ivan and Mitrodor, Pahom, Prov.
Folklore flavor is enhanced with the help of sacred numbers: 7.
on the pole path
Seven men came together:
Seven temporary...

Seven owls flocked,
Admire the carnage
From seven big trees

The plot seems fabulous when Pahom picks up a chick and talks with him, and then with a warbler, who, as a ransom for a chick, gives a self-assembled tablecloth, a secret place with a “magic box”:
It has a self-assembled tablecloth,
Whenever you wish
Eat, drink!
Quietly just say:
"Hey! self-assembled tablecloth!
Treat the men! “
At your request
At my command
conditional form of referring to the tablecloth
“Look, chur, one!
How much food will take
Womb - then ask
And you can ask for vodka
In day exactly on a bucket.
If you ask more
And one and two - it will be fulfilled
At your request,
And in the third be trouble! »
- the basis of many Russian folk tales
This sparkling stream of words captures and captivates ... The secret of the eternal strength and youth of Nekrasov's muse is to introduce her to the inexhaustible source of Russian folk poetry. And could Nekrasov write a book differently, in his words “useful, understandable to the people and truthful”? A lively, sweeping folk word, apt and witty, “what you can’t think of, even swallow a pen” is the basis of the foundations of all Nekrasov’s poetry.
In addition to fairy-tale motifs, the Prologue contains a huge number of signs, sayings, riddles, which not only reflect the mind, beauty, wisdom of the speech of the Russian people, but also give the poem an extraordinary folklore richness. Proverbs. “A man, what a bull ...” The proverb characterizes the quality of the character of a simple man, his stubbornness, perseverance, perseverance. In modern speech, stubborn as a bull. “The bird is small, and the claw is sharp” - (“Small, but remote”), etc.
Riddles - only you, black shadows,
You can not catch - hug! - shadows
Without a body - but it lives,
Without a tongue - screaming! -echo
Belief is a belief that comes from antiquity, a belief that lives among the people, a belief in omens. A sign is a phenomenon, an event, which among the people are a harbinger of something.
"Well, the goblin played a glorious joke on us."
At present, you can hear such expressions: the goblin has beguiled, go to the goblin (go away), what kind of goblin? (expression of annoyance), the goblin knows him (who knows) - they are all used in a colloquial style.
"Cuckoo, cuckoo, cuckoo!
Bread will sting
You choke on an ear -
You won't poop. »

Bogatyreva Irina Sergeevna

writer, member of the Writers' Union of Moscow and the Pen Club, master's student at the Center for Typology and Semiotics of Folklore of the Russian State University for the Humanities

Annotation:

This article describes the folklore elements that are present in modern Russian short stories, namely: fairy tale motifs and architectonics in modern children's literature, motifs of urban legends, children's horror stories, bylichki, etc., folk songs, mythology of different peoples, which can be shown either "outside view" or "inside view". The article provides examples of the analysis of some novels by contemporary Russian authors published in 2008-2015.

This article is a summary of the report read in the framework of the International Round Table "Modern Literature: Crossing Points" at the Institute of Art Education and Culturology of the Russian Academy of Education, and is an introduction to a topic that in itself requires not only more detailed development, but also constant monitoring . For "modern literature" is a stream in which changes are constantly taking place, so that even those texts that were published in the previous decade are a reflection of other processes than are happening now. Therefore, in my opinion, for a truly enthusiastic researcher, the analysis of any processes in the current literature can never be completed and risks turning into constant monitoring and recording of certain changes. So this article does not claim any completeness or objectivity of the picture, but can be called a digest of those motifs and elements of folklore that fall into texts familiar to the author of this study from publications of recent years.

Of course, the enrichment of literature with folklore elements always happens, there is nothing unusual or fundamentally new in this: in fact, literature has largely grown out of folklore and does not interrupt this contact to this day. Borrowings are direct and indirect, sometimes manifested in the form of quotations or caught only at the level of inspiring motives. The goals for which the authors turn to the folklore heritage are different, but the main one, as I see it, is the subconscious desire of the writers to find support in the material tested by time and confirmed by tradition. In addition, this simplifies the process of entering a new text, getting to know a new artistic world for the reader: seeing familiar characters, recognizing plots, even just intuitively anticipating genre laws, he overcomes the first threshold of acquaintance, which guarantees loyalty to the text in the future.

For this reason, and for a number of other reasons, contemporary authors like to draw inspiration from folklore, but, as I emphasized above, this in itself is not a trend. In my opinion, something else deserves analysis: what exactly from folklore gets into literature (plots, characters, motive and typological composition, etc.), how these elements are introduced into the text, for what purpose and result, and whether it is possible to capture something in common. It seems to me that here it is already possible to trace certain trends that characterize modern literature, and their own for different genres.

Of course, when we talk about the origin of folklore, children's literature and especially fairy tales come to mind first of all. In folklore, this genre is especially well studied, but in fiction it is very popular to this day. However, if we try to conduct a cursory analysis of the texts written in this genre in recent years, we will suddenly find that there is not so much direct coincidence with the folk tale in the modern literary tale. What can be considered as the main, genre-forming beginning for a folk tale? First of all, this is the functionality of plot construction. As is known from the famous postulates of W. Propp, a folklore fairy tale is constructed in such a way that we do not care about the characters as such with their characteristic features and individual traits, but what they do and how they behave is much more important. The composition of the characters and their roles in the classic folk tale is also well studied, as is the motive composition assigned to each of them. Moreover, if we think about it, we will find that in our perception it is the motive composition that turns into a characterization of the character: nowhere in fairy tales you will find indications of how Koschey the Immortal looked like, whether he is evil or good, but we perceive him as a negative character in according to the actions and role of the protagonist in relation to the main character. The formal structure of fairy tale narration is also well studied: traditional speech beginnings, endings and medial formulas, rhythmic inserts, and other elements that help oral transmission, memorization and narration of the text.

Of course, a typical folk tale existed orally, and this explains all the listed features, and in addition, its ultimate fixation on the plot: it is the plot that makes the tale, firstly, interesting, and secondly, dynamic and easy to understand. Imagine for yourself: if you retell the content of a film, what will you focus on - on the psychological rationale for the actions of the characters or on the events that took place on the screen? A fairy tale is also a kind of retelling of events: it was its ultimate effectiveness that ensured the long life of the genre, while the psychology of the characters, as well as the ornate language of narration, always remained on the conscience of the narrator, more or less talented in his field.

However, if one reads enough modern literary tales, it is easy to notice such a trend: the plot as a basis is not prevailing, it is replaced by descriptions, the invention of unusual characters or worlds, as well as the psychology and rationale for the behavior of the characters. In fact, the modern fairy tale is as difficult to retell as the text of any other genre, regardless of the age of the reader it is designed for. We can say that it is drifting towards psychological prose, and this is the main thing that distinguishes the modern literary fairy tale from folklore. Oddly enough, but the functionality of the plot - this basis of the fairy tale as such - almost does not fall into the modern literary fairy tale. However, all external, formal markers of the genre are borrowed with pleasure: typical characters (the same Koschey the Immortal, Baba Yaga, Ivan Tsarevich, etc.), verbal formulas, the fairy-tale surroundings and style itself. In addition, it is not uncommon for an author, vaguely realizing that different folklore material has a different nature, and hence a different sphere of existence, adds characters of such genres to the fairy tale, which in tradition under no circumstances could meet within the same framework. text: for example, goblin, pagan gods, otherworldly beings of other nationalities... Needless to say, the result in such cases is more than doubtful.

Preparing for this report, I realized that it is very difficult to find an example of a good literary fairy tale. And yet, as an illustration, I can cite the text by A. Oleinikov “The History of the Knight of Eltart, or Tales of the Blue Forest” (2015). In itself, the material on which the narrative is built cannot be called traditional: the characters of this tale are either fictional or taken from various European mythological traditions. The same applies to the whole artistic world of the text. However, a good knowledge of folklore laws allows the author to create an original, but tightly stitched text: there are also bright characters with their own motive composition, whose actions are due to plot necessity, and not psychologism, and a well-thought-out functional plot (the grief that befalls the hero at the very beginning requires permission and becomes the driving motive of his journey), along the way he is accompanied by both assistants and antagonists - in a word, a classic set of roles. All this brings the text closer to folklore prototypes.

However, not only children's literature is enriched with folklore elements. And not only fairy tales become their sources. Other genres of folklore that are gaining popularity in our time that feed literature are bylichki, children's horror stories, urban legends - all those texts whose pragmatics can be defined as the intentional creation of emotional tension, the desire to scare the listener (reader), and also convey information about the characters to the current mythology - brownies, goblin, mermaids, drummers, UFOs, etc., their habits, contacts with a person and ways of communicating with them. If we talk about the elements that get from these texts into literature, it is primarily the named pragmatic feature - fear, emotional tension with different goals and different ways of resolution. The rest - the characters of actual mythology themselves, motifs, plots, etc. - also pass into literature, but not so often, and most importantly, not always with the same functions.

As can be seen from a cursory review of the borrowed elements, in this case, the authors have a lot of freedom: taking some elements, they can ignore others, and still let the reader understand what folklore sources he is dealing with. It is also not difficult to guess what genres of literature we are talking about: first of all, it is science fiction, fantasy, horror ... At first glance, it seems that this material itself dictates strict genre laws to the authors who turn to it, however, seen below, with skillful work with it, authors can move away from rigid genre forms (the so-called formulaic literature) and feel artistically liberated. Thus, these elements fall into the transitional texts between commercial and non-commercial genres. So, for example, M. Galina feels very free in the novel “Autochthons” (2015), saturating her text with urban legends of some real Ukrainian city, sometimes with a very specific geographical reference (or stylizing the text for similar oral examples), updating characters of European mythology, creating the necessary emotional environment - mystical, intense, mysterious - and at the same time, without going into a rigid genre form. On the other hand, N. Izmailov writes a dilogy (positioned as novels for teenagers) "Ubyr" (2013) and "No one will die" (2015) in a genre very close to the classic horror, filling the text with national flavor not only due to language, but also due to the actual Tatar mythology and the construction of the plot itself, which is close to a fairy tale in the interpretation of V. Propp as the story of the rite of initiation of adolescents. As we can see, this folklore material gives the authors wide artistic opportunities.

A rare folklore genre that finds its way into fiction is the folk song. Actually, I know only one example of working with this material not as a source for quoting, but as a source of borrowing, but it is so striking that it deserves special mention: this is A. Ivanov's novel Bad Weather (2016). The author, who is not alien to either formulaic narratives or folklore baggage in general, in this novel found a non-trivial way to create an artistic reality recognizable to the Russian reader: the entire text - and the corpus of the main characters, and the plot, and even the chronotope - is based on Russian folk songs of various genres (ballads, romances, historical, lyrical, robber and other songs), their motive composition and imagery. I will not delve into the analysis of the novel from this point of view, my separate article is devoted to it, I just want to say that such work with folklore material, even if it was not done intentionally by the author, was the result of his attempt to find something archetypal in the Russian character, achieved the goal: the world of the novel is recognizable, and the necessary emotional attitude is immediately established to the characters.

Finally, the most extensive - and, perhaps, the most non-literary genre of folklore, penetrating into modern literature, is mythology. Why, in fact, non-literary? Because mythology itself is based not only and not so much on texts. In culture, it can also be manifested non-verbally, in the form of patterns on clothes, everyday behavior, cultural codes; Beliefs and mythological representations may not be formalized textually, but they may represent a baggage of general knowledge available to representatives of a particular culture. Therefore, an author who draws inspiration from this or that mythology can act in two ways: on the one hand, to recreate, with the help of artistic means, the tradition, social structure and, in general, the worldview of people, knowing their mythology; on the other hand, to recreate mythology on the basis of cultural material. In addition, not necessarily such basic phenomena as worldview or social structure can become the subject of interest of modern authors. Sometimes individual mythological elements in the form of constructs, images, basic ideas or systems get into the text, they do not form the basis of the text, but represent an important artistic detail, symbol, allusion, etc., opening a dialogue with other texts and expanding the boundaries text as such.

Such cases are not rare, for sure, many are familiar with them. As an example of such work with mythological material in a purely realistic (with historical references) text, I would like to name L. Yuzefovich's novel Cranes and Dwarfs (2008). Two typical mythological motifs can be found in it. The first one is duplicity and the related motif of imposture, known from world folklore in various genres, from fairy tales to tales (if a goblin pretending to be a person is called an impostor). The second, a little less obvious, but which became the basis of the artistic series of the novel, is the image of the trickster, which is basic for the world folklore and mythology of different peoples, his behavior that unbalances other characters, his life itself with risk, adventures, contact with another world so much so that even death eventually becomes inaccessible. Thus, the protagonist of the novel, Zhokhov, continues the line of other literary tricksters, from Til Ulenspiegel to Ostap Bender.

If we turn to mythology itself and texts written based on this material, we will find that the author's gaze can be turned to it in two ways: placed inside the tradition, and also outside, outside the described world. In this case, a significant difference will be in the light in which this or that mythology and the culture generated by it will appear: as its own, understandable and attractive, or alien, unpleasant and repulsive. Such a difference in approaches is known from anthropological studies, in which initially there are two trends in the description of cultures: with attempts to understand it or with a comparison with the known, i.e. own (in this case, a foreign culture always loses).

This "outside view" is translated into literature when the author wishes to create an image of a "backward" people. Even if the text is not biased, "outside view" will not add understanding and empathy for the characters to the reader. As an example, we can recall the already mentioned A. Ivanov with his early novels "The Heart of Parma" (2003) and "The Gold of Riot" (2005), where traditional Ural cultures are presented from the point of view of an outside observer, and only their external elements and attributes of the sacred - shamanistic rituals, ritualized behavior, fetish figurines, etc., which does not bring the reader closer to understanding these cultures and does not create an idea about their mythology.

Another option, "a look from the inside", allows the author to show the mythology of a particular people in its entirety, even having a minimum of knowledge about its external manifestations, rituals and the system of relationships within society. By itself, the immersion technique allows the author to enter himself and let the reader into the world of people whose culture is far away, incomprehensible, but thanks to this approach it does not require translation - it becomes intuitively accessible. Of the texts where such a threshold of immersion in alien mythology was passed, I can name the novel by A. Grigorenko "Mebet" (2011), based on Nenets mythology, as well as my novel "Kadyn" (2015) about the Scythians of Altai. Both texts are written on different material: ethnographic and archaeological, so the degree of artistic assumption in them is different. However, both of them are written with immersion in a foreign culture and allow not only to learn about the life, life and social structure of society, but most importantly - to penetrate into their mythological representation, to feel a different way of thinking, different from the thinking of a modern urban person, and to understand what in people's lives could become the basis for certain mythological motifs, and vice versa - gave rise to behavioral patterns based on mythological representation.

Of course, the presented analysis is quite cursory and does not pretend to complete coverage of the situation - this requires more extensive work. However, I hope that I have managed to show the tendencies in modern literature that are obvious to me not only as a folklorist, but also as a professional reader, and the article will help everyone to adjust their reader's optics in a new way and more clearly distinguish elements of folklore in modern Russian literature.

1. V. Propp. Morphology of a fairy tale. M., 1969

2. V. Propp. The historical roots of fairy tales. L., 1986.

3. J. Cavelti. "Adventure, Mystery, and Love Story: Formulaic Narratives as Art and Popular Culture", 1976.

4. I. Bogatyreva. "Folklore motifs as constructs of recognizable reality". – "October", 2017, 4.

5. A. Oleinikov. "The Story of the Knight Eltart, or Tales of the Blue Forest". M., 2015

6. M. Galina "Autochthons". M., 2015

7. N. Izmailov. "Ubyr". St. Petersburg, 2013

8. N. Izmailov. "No one dies." St. Petersburg, 2015

9. A. Ivanov. "Bad weather". M., 2016

10. L. Yuzefovich. "Cranes and dwarfs". M., 2008

11. A. Ivanov. "Heart of Parma". M., 2003

12. A. Ivanov. "Riot Gold" M., 2005

13. A. Grigorenko. "Mabeth". M., 2011

14. I. Bogatyreva. "Kadin". M., 2015

The concept of the development of ancient Russian art over the past century did not remain unchanged, and the thesis of local roots was opposed to the position on the consistent adaptation of the Byzantine artistic heritage. “Archaeological research by Soviet scientists has now made it possible, albeit sketchily and only in general terms, to determine the origins of Russian art, dating back to the artistic culture of the Slavic tribes and to the art of the ancient and Scythian Black Sea region. The Byzantine contribution lay on the solid ground of strong Slavic artistic traditions, which led to a decisive creative processing of imported Greek forms and the originality of the most ancient monuments of Russian monumental art, ”says the preface to the History of Russian Art, published since 1953. V. N. Lazarev took a more prudent position on this issue, writing: “Literally in all countries, they tried to master the principles of Byzantine art, but not everyone was able to do it. Kievan Rus was able to brilliantly solve this problem. She not only made the Byzantine heritage her property, she gave it a deep creative implementation, completely subordinating the new tasks that confronted her artists. The national and social factors were constantly emphasized by N. N. Voronin, to whom, in particular, the following lines belong: “The ruling feudal elites basically adhered to Byzantine traditions, which they repeatedly turned to later in the struggle for their dominance. Folk, national principles inevitably came into conflict with this tradition, reworking and changing it in their own way, which determined the uniquely Russian character of the most ancient monuments. Today there is no point in arguing with these voices from a bygone era; rather, they should be remembered as reflecting a certain position of researchers.

At the dawn of the formation of Christian art in medieval Russia, the demand for the Byzantine artistic heritage, approved on Hellenistic foundations and incorporating all the best that distinguished ancient civilization, was relevant first of all. Having withstood the struggle against the iconoclasts, this religious creativity turned out to be closely connected with Christological dogma, and its character was naturally consistent with the Church's teaching on icon veneration. The baptism of Russia opened the way to the assimilation of the Byzantine model as a standard, without any alternative. Therefore, it is permissible to speak about the exclusive role of Byzantium in the formation of the artistic culture of Ancient Russia.

In the literature, the fact that the Baptism of Russia took place in an era of political and economic power was especially noted, and this provided her with familiarization with the high achievements of Byzantine culture, attracting first-class masters, which predetermined the path for the further development of art. In this context, it is easier to understand the astonishing rapidity of icon painting, transferred to new soil, on which local Slavic artistic traditions, sharply different in their typology, existed before. In many ways, everything had to start literally “from scratch”. And the path of discipleship turned out to be difficult and uneven. If we recognize early artistically perfect works as belonging to local creative personnel, then we will have to talk about their consistent degradation, in which it is difficult to see natural progress. Icons of the 12th-13th centuries, originating from Russian churches, do not fundamentally differ from Byzantine ones proper. Given this, we must recognize them as Greek works or conclude that Russian icon painters comprehended the classical foundations of Byzantine art: either is unlikely for quite objective reasons. The medieval West, which had long been in contact with the Byzantine tradition, was only able to approach it. What could medieval Russia count on?

V. N. Lazarev was concerned with the transformation of the Byzantine heritage in Russian painting in the early period of its history, and the scientist could note that, say, the iconography of Novgorod in the 12th century. was almost entirely in the orbit of attraction of the Byzantine art of the Comnenos time, and already at the beginning of the 13th century. “something appears that would be impossible for a purely Byzantine artist.” Comparing two icons of St. Nicholas, Constantinople in the monastery of St. Catherine on Sinai and Novgorod from the Novodevichy Monastery in Moscow (see color insert, ill. 1), the researcher writes: “In a Greek icon, very fine in execution, the strict proportionality of the parts is striking face, dating back to distant Hellenistic traditions. This proportionality deprives the image of expression, leaves an imprint of a well-known academic character on it. The Novgorod artist interprets the face of Nikola in a completely different way. His exorbitantly elongated head acquires a flattened shape, the main place is given to a huge forehead - the focus of thought, whimsically curved eyebrows form sharp angles, the ratio between the individual parts of the face loses the strict proportionality of the Byzantine icon, but the overall expression of the face becomes more expressive. This icon occupies a special position among the Novgorod works, and the image of St. Nicholas differs in style from the simultaneous images in the margins. Its exclusivity in following a very original Byzantine model and most likely in the deformation of the latter, caused by the icon painter's lack of skills due to thorough professional training. Hence the lack of a correct drawing and volumetric modeling, the strengthening of the role of a graphic line and a local color spot. Similar disproportions with a tendency to enlarge the head and the hand of the blessing hand later on become most noticeable in stone carvings following icon-painting originals.

One should not think that the popular understanding of icon-painting images is most characteristic of the Russian iconographic tradition. It is preceded by early Eastern Christian icons, connected by their origin with the monastic environment, now stored in the monastery of St. Catherine at Sinai. They are distinguished by a similar deformation of classical forms and increased graphic quality, sometimes resembling rather colored pen drawings that adorn the pages of a handwritten book, again reflecting the aesthetic tastes of the same circles. From this we can draw a logical conclusion regarding the progressive democratization of icon painting. Certain historical factors must have contributed to this. Russian-Byzantine cultural ties were, if not completely interrupted, then greatly weakened due to the capture of Constantinople by the crusaders in 1204 and the Tatar-Mongol invasion. The real development of sacred art was suspended for a long time, and the consequences of what had happened had a painful impact on the future.

This future is a new era starting from the end of the thirteenth century. and largely determined by the Muscovite princely policy, leading to the transformation of Moscow not only into the capital of the vast Russian state, but also into the religious center of North-Eastern Russia. The church turned out to be the most active conductor of Byzantine influences in the spiritual culture of medieval Russian society. Byzantine iconography of the thirteenth century. very diverse in nature, especially the products of the Greek workshops that served the crusaders. Some of her samples, although with a certain delay, reached the Russian lands, finding a response from local icon painters.

Events of the thirteenth century showed that generations of Russian icon painters, assimilating Christian iconography in its Byzantine version, did not go through a serious professional school that distinguished the art of Greek masters. Therefore, they were doomed to copy high standards, and exceptions were rare. This tragic situation was revealed every time ties with Byzantium weakened: the quality level of production dropped sharply towards the primitivization of artistic forms. A striking evidence of this is the widely known Novgorod red-backed icons originating from the Sacred. Here you can focus on only one of them, more multi-figured, with the image of the Savior on the throne with selected saints (ill. 2). Byzantine image of the throne of Christ in the iconographic version of the XII-XIII centuries. reproduced without significant deviations, except for the violation of proportions and the interpretation of individual details, in particular, the drapery of clothes with flowing folds gives way to a system of contour lines. More definitely, the folklore interpretation is manifested in large-headed figures of short proportions, located on the margins of the icon. Their composition clearly reflects the veneration of these saints. Therefore, the icon painter is quite familiar with the typology. And although the iconography did not need to be simplified, the artist still showed a weak idea of ​​the episcopal vestments. Dating from the first quarter of the XIV c, the icon of Nikola Zaraisky with life from the churchyard of Ozerevo allows us to trace the development of the same trends even more clearly. Compositions of hagiographic stamps evoke the illusion of resemblance to Romanesque painting. However, Western iconographic motifs were sometimes subjected to folklorization in Russian icon painting, as, for example, the Vologda icon of the 14th century gives an idea. with the image of the Mother of God on the throne with the upcoming hierarchs Nikola and Clement. In essence, on the basis of the folklorization of the icon-painting model, icon-painting of the vast northern lands along the shores of Lake Onega arose and developed over the course of centuries. Sometimes, as in the case of a group of royal gates from the Novgorod provinces, it even managed to develop its own bright and stable iconographic tradition on local soil, marked by a kind of comprehension of the elite original. We are talking about including in the scheme, along with the Annunciation and the Evangelists, a multi-figure composition of the Eucharist with features of everyday interpretation.

The Paleolog era in the history of Byzantine art, with the revival of Byzantine-Russian church and cultural ties, brought a lot of new things to the iconography of Novgorod and Moscow. First of all, the iconographic repertoire has expanded, the artistic characteristics have changed. However, at the same time, the tendency to archaization remained practically unexploited, which sometimes left its mark on the perception of new, moreover, exquisite samples. One gets the impression that local craftsmen looked at them as if through the prism of traditional training, which gravitated towards firmly rooted folklorization. It is not surprising that the hagiographic hallmarks of the Novgorod icon of the first half of the 14th century. with the image of Nikola from the churchyard of Lubon rather resemble a folk painting with all its characteristic features. In accordance with the tastes of the people's environment, the artistic structure of the icon “George's Miracle about the Serpent, with Life” from the former collection of MP Pogodin was determined. Such works of the folklore type form a whole trend, reflecting the originality of folk ideas in an extremely intelligible form. It should be noted here a simplification, but not a radical change in the iconographic scheme.

“Novgorod art marks one of the highest points in the development of ancient Russian artistic culture. It is characterized by great simplicity and expressiveness, it stands out for its folk character, in it those numerous folklore motifs that have existed among the people for centuries and which have not been so widely used in any other school have found an organic embodiment. Hence the full-bloodedness of Novgorod art, hence its strength and soil,” wrote V. N. Lazarev, assessing the contribution of Novgorod to Russian art. True, the Novgorod icon painting of the 15th century, especially its second half, is noticeably evolving, approaching the Byzantine elite direction, but the northern provinces of Novgorod still retain for a very long time that conspicuous folklore coloring that usually distinguishes the products of the traditional direction. Sometimes this coloring seems to be naturally superimposed on new, moreover, even partly Europeanized models. The age-old artistic context affects, and then the influence of the Old Believer environment. All this supported reverence towards antiquity.

However, it cannot be said that the products of other icon-painting centers, including Pskov and Rostov, remain free from the penetration of the folklore element. Pskov icons, especially of the 14th-15th centuries, are perceived as the result of a radical processing carried out on local soil of samples brought from outside, both of the Byzantine proper and of the Byzantine-Western circle. This is probably why sometimes you can feel the echoes of the Romanesque artistic tradition. All this is partly leveled by the folklore interpretation of the image, and here the best example is the icon of the Almighty Savior from the Spaso-Eleazarovsky Monastery. The simplification of the artistic solution is also present in other works, sometimes twilight-decorative, and only in the 16th century. the line that separated Pskov craftsmanship from Novgorod and Moscow. There is no certainty that the surviving icons adequately reflect the nature of medieval Rostov icon painting as a whole. But even at the present stage of studying the material, it is clear that, along with elite works, samples of the folk direction were known, if not predominant. Particularly impressive is the temple icon of the Old Testament Trinity belonging to this circle, made in the 1360s–1380s. . It is precisely the folklore interpretation of the plot that distinguishes it, which manifests itself both in the simplification of forms and the lack of coordination of figures, and in the introduction of everyday motifs (ill. 3).

The folklore element turns out to be an almost constant companion of the masters of various Russian icon-painting centers working on a professional basis. The widespread use of drawings made by experienced draftsmen did not exclude various digressions and errors. Icon of the Almighty Savior with the Apostles, late 14th - early 15th century, localized by Rostov, reproduces an exquisite Byzantine original of the second half of the 14th century. . At the same time, simplifications are noticeable in the contours of the images, and especially in the modeling of volumes, clearly reflecting the icon painter's perception of the sample. The same phenomenon is reflected by the dated 1360s. double-sided icon with images of the Savior Almighty and Our Lady Hodegetria from the Intercession Monastery in Suzdal. The temple icon of the Intercession, made simultaneously with it and originating from the same place, is remarkable not only as an example of the development of a multi-figured composition of the indicated plot, but also as evidence of the aesthetic tastes of the then Suzdal princes, who were alien to special sophistication. Only the work of such great masters as Feofan the Greek and Andrei Rublev could bring Russian icon painting out of this state.

Moscow icon painting was formed almost from the beginning with the involvement of Byzantine masters invited by Metropolitan Theognost (1338–1353). Her works as a whole are distinguished by stronger manifestations of aristocracy than the products of other local art centers of medieval Russia. True, the features of folklorization sometimes nevertheless penetrated both into early works and into those created in monastic workshops near Moscow. The situation was completely different in the territory adjacent to Tver. The impact of folklorization has already been noted on works of the 14th-15th centuries, such as the icon of the Archangel Michael and the royal gates depicting two saints, but it is even more intensified in the icons of the deesis tier of the middle of the 15th century. from the collection of A. I. Anisimov. Icon of Hypatius of Gangra with life, late 15th - first half of the 16th century. , reveals trends close to the work of the masters of the Novgorod provinces of the Russian North. The latter, as you know, widely adapted in their usual plan and the most elite icon-painting samples. Directly elite works of icon painting, of course, settled mainly only in the largest northern monasteries.

During the last century of the existence of the Byzantine Empire, Constantinople, as before, had a decisive influence on the nature of the iconography of the Orthodox Slavic countries. Over the next decades, its development continued rather by inertia, until the question arose both about the quality level and, most importantly, about the correctness of the images. In Moscow, it was staged at the Stoglav Cathedral in 1551, which revealed serious concern about the state of icon painting and recommended the introduction of obverse icon-painting originals. All this can be understood, especially based on the experience of the existence in the post-Byzantine period of icon painting in the Belarusian-Ukrainian region in the conditions of active Catholic expansion and the practically absent Orthodox aristocracy. Potential customers for the icons were the clergy, the bourgeoisie, and rural church communities. Yes, and in Moscow itself it was difficult not to catch the penetration into the iconography of Western subjects, which owe most of the production of Italo-Greek workshops. Later, this circumstance will largely lull the vigilance of the Russian Old Believers. Meanwhile, despite all the measures taken, the Europeanization and folklorization of traditional icon painting continued, especially with the spread of engraving, and their success clearly depended on the social environment. In this regard, what is happening from the Florovskaya chapel in the village is indicative. Pasmurovo icon of the Miracle of Flora and Lavra, painted by Isaac Grigoriev in 1603 (ill. 4). This is an example of the creativity of the monastic peasants-icon painters of Poshekhonye. The traditional iconographic scheme is complicated by the inclusion of an architectural background and an increase in the number of horses.

“The general character of the art of the 17th century,” wrote L. A. Uspensky, “marked by the loss of the main properties of the great art of previous eras, was the result of that spiritual decline and those historical prerequisites that were determined in the 16th century. And interest in Russian art in other Orthodox countries was caused not only by the fading of artistic life under Turkish rule, but also by a certain consonance in the understanding of church art in relation to it, which arose under the influence of circumstances that developed in this era on the paths of Orthodoxy. One of The noted circumstances, undoubtedly, was the Europeanization of the sacred art of the Byzantine tradition, which took place gradually, gradually, and drew attention to itself in cases of the most radical innovations. It is worth at least remembering the views on contemporary Russian icon painting by Archpriest Avvakum. Folklorization remained, as it were, in the shadow of controversy, since it did not affect the iconographic foundations and only gave them a partly everyday interpretation, especially in northern works.

The situation in the nature of folklorization noticeably becomes more complicated in the second half of the 17th century. while interacting with the Ukrainian and Belarusian iconographic traditions and the influx of foreign artists. Here the severity of the problem is rather transferred to the plane of international cultural relations. Traditional iconography does not disappear, but in the public consciousness it seems to be relegated to the background, being retained primarily in the provincial monastic and Old Believer environment. This creativity becomes mainly the lot of folk craftsmen, who thus turned out to be called upon to keep the covenants of medieval Russia for a long time to come.

Voronin N. N. Results of the development of ancient Russian art // History of Russian art. T. IV. M., 1959. C. 616.

Ainalov D.V. Hellenistic foundations of Byzantine art. Studies in the history of early Byzantine art. St. Petersburg ., 1900; Grabar A. Christian iconography. A Study of its Origins. Princeton, 1968; Kitzinger E. Byzantine Art in the Making. Main lines of stylistic development in Mediterranean Art 3rd–7th Century. Cambridge, 1977.

Putsko V. G. Byzantium and the formation of the art of Kievan Rus // Southern Russia and Byzantium. Collection of scientific papers. Kyiv, 1991. S. 79–99.

Grabar A. N. Baptism of Russia in the history of art // Vladimir collection in memory of the 950th anniversary of the baptism of Russia. Belgrade, 1938, pp. 73–88; He is. Secular fine arts of pre-Mongol Rus and “The Tale of Igor's Campaign” // Proceedings of the Department of Old Russian Literature. T. XVIII. M.; L., 1962. S. 233–271.

Velmans T. Rayonnement de l'icone au XII e et au début du XIIIe siècle // XVe Congrès International d'études byzantines. Rapports et co-rapports. III. Art et archaeological. Athènes, 1976, pp. 195–227. Pl. XLI–LI; Pucko V. Icon in pre-Mongolian Russia // Icone und frühes Tafelbild; halle. 1988. pp. 87–116.

Lazarev V. N. Byzantium and Old Russian Art // Lazarev V. N. Byzantine and ancient Russian art. Articles and materials. M., 1978. S. 220.

State Tretyakov Gallery. Collection directory. T. I: Old Russian Art X – beginning of the fifteenth century. M., 1995. S. 54 – 57. № 9.

Putsko V. G. Russian icons of St. Nicholas according to small stone sculptures of the 13th-15th centuries // Veneration of St. Nicholas the Wonderworker and its reflection in folklore, writing and art. M. , 2007. pp. 121–131.

Putsko V. G. Sacred art of Russia before the Mongol-Tatar invasion: results and development prospects // Problems of Slavic Studies. Issue. 7. Bryansk, 2005, pp. 3–10.

Putsko V. G. Church and reception of Byzantine spiritual culture in Russian society in the 11th-15th centuries. // Problems of Slavic studies. Issue. 10. Bryansk, 2008, pp. 9–19.

Xyngopoulos A. Icones du XIII e siècle en Grece // L'art byzantin du XIII e siècle. Symposium de Sopoćani. 1965. Beograd, 1967, pp. 75–82; Weitzmann K. Thirteenth Century Crusader Icons on Mount Sinai // The Art Bulletin. Vol. XLV. 1963. P. 179–203; He is. Icon Painting in the Crusader Kingdom // Dumbarton Oaks Washington. 1966. P. 49–83; Byzantium. Faith and Power (1261–1557). New York, 2004, pp. 341–381.

Putsko V. Crusaders and Western trends in the art of Russia in the 12th - early 14th centuries. // Actes du XV e Congrès International d'études byzantines. Athenes-1976. T. II; Art et archeology. communications. Athènes, 1981, pp. 953–972.

Porfiridov N. G. Two works of Novgorod easel painting of the 13th century // Old Russian Art. Artistic culture of Novgorod. M., 1968. S. 140–144; Smirnova E. S. Painting of Veliky Novgorod. The middle of the thirteenth - the beginning of the fifteenth century. Moscow, 1976, pp. 35–46, 157–165.

Komarova A.

ON LITERATURE

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Introduction.

The better we know the past, the easier
all the more deeply and joyfully
understand the great meaning
the present we create.
A. M. Gorky

“Tell me how the people lived, and I’ll tell you how they wrote” - these wonderful words of the great Russian scientist Academician L. N. Veslovsky can also be attributed to oral creativity: how the people lived, so he sang and told. Therefore, folklore reveals folk philosophy, ethics and aesthetics. M. Gorky could rightly say that "the true history of the working people cannot be known without knowing the oral folk art." The song serves as a source for studying the history, life and customs of the people, their spiritual make-up and character. Lyrics of songs of each era contain regional studies, historical and cultural, everyday life, spiritual and value, political information. The song reflects the lexico-semantic, morphological, word-formation and syntactic features of the development of the language.

Everyone knows the conquering power of Russian folk songs. They have the property not only to penetrate deep into the soul, but also to cause empathy.

This wonderful genre of folklore has become an integral part of our life, it has confirmed its right to exist, having passed a long test of time. The sociocultural changes that have taken place in Russia in recent decades have a significant impact on speech and language processes and cannot but affect the songwriting of Russian authors, since the song is one of the most dynamic genres of mass culture.

R&D: folklore elements in modern author's song.

Relevance of the topic: the author's song of Russia as a phenomenon that combines poetry, music and performance, and as a kind of social movement of the Russian intelligentsia, belongs primarily to the world of folk culture.

The purpose of the study: to identify folklore elements in modern author's song.

Object of study - a modern author's song.

Subject of study- the text of a modern author's song.

The practical significance of the work lies in the fact that this study can be used in the further study of the phenomenon of author's song, in the practice of school and university teaching of folklore and other disciplines that study ethnicity and folk culture.

In accordance with the purpose and hypothesis of the study, the following tasks were set:

Analyze the poetics of the texts of Russian folk songs;

To establish the degree of influence of folklore on the modern author's song.

Research materialthe texts of popular author's songs of the last 20 years and Russian folk songs served. The main criteria for selecting material were the presence of song texts in modern collections and periodicals of the last 20 years, the repeated sounding of songs in musical radio and television programs, and the publication of song texts on Internet sites.

Material selection produced with certain restrictions. The objects of study were not: 1) songs, the verbal part of which is exemplary texts of classical and modern literature (songs to poems by S. Yesenin, M. Tsvetaeva, B. Pasternak, E. Evtushenko, A. Voznesensky, B. Akhmadullina and other poets ); 2) "secondary works", i.e. songs written and sounded earlier and now presented in a new musical arrangement, in a new performance; 3) texts of thieves, semi-thieves, yard songs; 4) lyrics of modern informal groups containing profanity.

Main part.

1. Poetics of texts of Russian folk songs.

Fairy tales, songs, epics, street performances - all these are different genres of folklore, folk oral and poetic creativity. You cannot confuse them, they differ in their specific features, their role in folk life is different, they live differently in modern times. No people in Europe has such a wealth of songs and melodies, beautiful and original, as the Russian people. Even from the 18th century we have evidence of how our songs surprised foreign musicians with their freshness and musical beauty. For example, the composer Paisiello, having heard Russian songs, could not believe "that they were an accidental creation of ordinary people, but believed them to be the work of skillful musical composers"

Folk song- a musical and poetic work, the most common type of vocal folk music. Folk song is one of the oldest forms of musical and verbal creativity. In some ancient and partly modern types of folk music, it exists in unity with dance, playing, instrumental music, verbal and visual folklore. Its isolation is the result of a long historical development of folklore.

The well-known connoisseur and collector of Russian songs P.V. Shein divided his multi-volume collection of Great Russian songs (up to 3 thousand) into two main categories, according to two sides of a peasant's life - personal and public: a) songs that reflect the main moments of a person's life - birth , marriage, death - but within the limits of one's family, one's volost, and b) songs in which the transition to public, state life is expressed. Lopatin, excluding epics from them, divides all Russian songs into two categories: 1) lyrical songs, including most of the historical songs, and 2) ritual - wedding, round dance and game. This classification is less resistant to criticism, because the lyrical and personal element is to a certain extent also inherent in ritual songs.

Folk song is distinguished by a wealth of genres, different in origin, character and function in folk life. An essential feature of most traditional genres is the direct connection of a folk song with everyday life, labor activity (for example, labor songs accompanying various types of labor - burlatsky, mowing, weeding, reaping, threshing and others, ritual songs accompanying agricultural and family rituals and festivities - carols , Shrovetide, stoneflies, Kupala, wedding, funeral, game calendar, etc.). Historical folk songs are valuable because they reflect the real events of past years. Passed down from generation to generation without significant changes, they have preserved plots and characters, forms and means of expression for many centuries.

The themes of historical songs are diverse and multifaceted: wars, campaigns, popular uprisings, incidents from the life of kings, statesmen, leaders of rebellions. According to them, one can judge the attitude of the people to what is happening, their priorities and moral values.

Dance folk songs are inseparable from various folk dances. Lyrical songs received the greatest musical development in the folklore of all peoples. They are sung solo, ensemble, chorus. It was in this genre that the highest forms of polyphony, complex melodic and musical-poetic compositional structures appeared. The diversity of the content of lyrical folk songs is primarily due to the diversity of social groups that create and perform them (farmers, artisans, workers, and others). Each social group of society has its own song lyrics.

The folk song is dominated by strophic and couplet form, often with compositionally highlighted verses and refrains. Poetic stanzas (verses) of each folk song, differing in content, usually correspond to one tune, which varies with repeated repetition (throughout the entire song).

"AND WE SOWED MILLET"

And we hired the land, hired.

Oh did-lado hired, hired.

And we sowed millet, sowed,

Oh dil-lado, sowed, sowed.

And we will trample millet, trample.

Oh dil-lado, trample, trample.

And what do you trample, trample?

Oh dil-lado, trample, trample?

And we are her horses, horses,

Oh dil-lado, horses, horses,

And we will take horses prisoner, we will take prisoner,

Oh dil-lado, we'll take prisoner, we'll take prisoner.

1. Genre - labor, round dance, dance.

3. The form of the verse: strophic with a repetition of one of the syllabic groups.

And we millet / sowed, sowed.

Oh, dil-lad, / sowed, sowed.

4. The tonality of the song is in G major.

5. Rhythm - even, with a chant of each syllable.

6. The tune consists of a repeatedly repeated musical phrase. Each syllable in the song is sung, this gives it a playful, dance character.

1. Features of the author's song.

The author's song is a multifaceted, lively, constantly evolving phenomenon. In the beginning, author's songs were not called that way. It was called amateur, until such famous word artists as B. Okudzhava, V. Vysotsky, A. Galich, N. Matveeva were involved in the process of understanding their role in culture - true professionals.

The author's (bard) song is an original cultural phenomenon of our country. Its origins lie in oral folk art. The author's song is modern folklore, a mirror of the life of Russia at different historical stages. The author's song is a modern genre of oral poetry (“singing poetry”), which was formed at the turn of the 50s and 60s. in the informal culture of students and young intellectuals. In itself, “singing poetry” is the oldest type of creativity known to the cultures of almost all peoples, and it is no coincidence that representatives of the author’s song are often called “bards”, compared with ancient Greek lyricists, Russian guslars, Ukrainian kobzars, etc., proceeding from before all from the fact that a modern “bard”, like an ancient poet, usually sings his own poems to his own accompaniment on a stringed instrument (most often a guitar). However, these are still external, and besides, not always obligatory, signs of the genre. The term "author's song" was introduced (according to legend - by V.S. Vysotsky) in order to emphasize its personal nature, in order to separate it, on the one hand, from the songs supplied by the professional stage, and on the other hand, from the urban folklore that gave birth to it. and unpretentious “self-made” songs composed, on occasion, for “their company”, “their institute”, and of little interest outside this narrow circle.The soil on which the author's song has grown is, first of all, our Russian folklore: a ditty, laconic, metaphorical, witty; urban romance, soldier songs.

The author's song as part of modern folklore in our country developed rapidly during the Khrushchev "thaw". But against the backdrop of general confusion, young people noticed and picked up the first songs of Yuri Vizbor, Ada Yakusheva, Mikhail Ancharov, Alexander Gorodnitsky, Yuli Kim ...

In the traditional transmission of an author's song in oral form, an important feature inherent in oral colloquial speech is manifested - the ability of a person within the same text to manifest himself as the subject of speech, action, to realize evaluative and emotional plans, which psychologically enriches the text. However, the absence of important components characteristic of oral colloquial speech - unpreparedness, spontaneity, dependence on the situation - does not allow identifying it with the author's song. Consequently, these texts are at the junction of oral (in form) and book (in content) speech.

The personal principle permeates the author's song and determines everything in it - from the content to the manner of presentation, from the stage appearance of the author to the character of the lyrical hero. And in this sense, modern “singing poetry” is a deeply intimate art, even confessional. The measure of trust and openness here significantly exceeds the norms allowed in professional creativity.

It goes without saying that such a song, unlike mass pop production, is not addressed to everyone. It is addressed only to those whom the author trusts, who is in unison with him, ready to share his thoughts and feelings, or, at least, who are spiritually disposed towards him. Therefore, the audience, its composition, its mood, even its size is an important component of the art song genre.

Musically, the author's song relied on that layer of common, easily recognizable and beloved intonations that existed in its habitat and was formed from a wide variety of sources. Among them are everyday romance, student and yard folklore (including thieves' song), folk song, popular dance music, songs of Soviet composers, etc. The lyrics of the war years played a special role in preparing the intonational soil of the author's song.
The favorite heroes of their songs - climbers, geologists, sailors, pilots, soldiers, athletes, circus performers, troubled "kings" of city courtyards and their girlfriends - are not just courageous and risky people, but, above all, personalities.
There are several stages in the development of the author's song. The first, the undisputed leader of which was the singer of the “Children of the Arbat” B. Okudzhava, lasted until about the middle of the 60s. and was colored with genuine romanticism, consonant not only with the age of the audience, but also with the prevailing mood in society. So far, it has not disturbed the authorities with its content, and they have paid almost no attention to it, considering it a harmless manifestation of amateur creativity, an element of the life of the intelligentsia. It sounded more and more clearly nostalgia for the past, the bitterness of loss and betrayal, the desire to preserve oneself, one's ideals, a thinning circle of friends. This lyric-romantic line was continued in the work of S. Nikitin, A. Rosenbaum, V. Dolina, A. Dolsky, bard rockers (A. Makarevich, B. Grebenshchikov) and many others, but it was not she who determined the face of the author's song of the period of her heyday. And if at the previous stage the “song of wanderings” played the leading role, then here it was the “protest song”, the undisputed leader of which was V.S. Vysotsky, behind whom the figures of A. Galich, Yu. Aleshkovsky, A. Bashlachev, V. Tsoi, Yu. Shevchuk, K. Kinchev and many others of different importance are visible. The aesthetics of the “song of protest” is a protest against the absurdity of the “soviet” existence, against this sick society itself.

In the work of V. Vysotsky, the author's song has reached a level that remains the standard today. Since the mid-1980s, after a brief surge of general interest in the author's song as in everything that was recently banned, its development moves into a calm, now legal, professional course. The number of “singing poets” and their performance skills are growing, the number of their organizations, concerts, festivals is multiplying, numerous collections, cassettes and CDs are being published, but nothing fundamentally new is happening in terms of creativity. Both “veterans” and younger “bards”, among whom A. Sukhanov, K. Tarasov, G. Khomchik, L. Sergeev, the duets of A. Ivashchenko and G. Vasilyev, Vadim and Valery Mishchukov and others, have gained popularity, exploit in his work, once found techniques, more and more turning into ordinary pop performers. The creative crisis of the author's song has become a fait accompli today.

1. Influence of folklore on modern author's song

The author's song is an independent direction in art, which arose at the junction of its two currents: folklore and the song direction of modern pop music. Distinctive features of the author's song as a genre: a) a special trusting attitude towards the listener, b) the personal coloring of the songs, c) the presence of social and civic motives. Folk poetic traditions are very strong in the author's song.

In the work we tried to make an analysis of the songs of A. Rosenbaum, I. Talkov, from the point of view of the use of folk poetic means.

1. Creativity A.Rozembaum

Rosenbaum actively invades life with his creativity, acting boldly, talentedly, brightly. He helps people. Strives to educate them, appeals to their hearts, to the best that no system can kill. As an interpreter, he, one might say, creates the image of a song that penetrates the soul - and in this he is an associate and heir of Vysotsky.

Already the names of the songs speak for themselves: “Kuban Cossack”, “Kandalnaya”, “Oh, Dudari, Dudari” (“Scene at the Fair”), “On the Don, on the Don” and others. It should be noted

Crazy girl - shast in the chest:

He drags a white dress - maybe all of a sudden?

Not by washing, so by skating

She'll be lucky with a soldier.

Maybe betrothed

Dear friend…

Elements corresponding to folk poetic creativity:

1) doubled words (these elements are typical for a tale):

Far, far away, they go, they go, they run, they run;

2) connected words:

She screamed, thrashed, with wattle-wattles, mocking jokers, mistresses-boyars;

3) epithets:

The thought is black, good horses, daring riders, evil sadness, mind-mind, path-path, dog-soldiers, girl-girls.

In this case, the opposite is often observedword order (inversion) for example, the song “0y, dudari, dudari” full Stu is built with the help of folk: elements:

Oh dudari, dudari, bast shoes, guslars.

Mockingbirds!

Blessed heads, ring the king bell,

Cheer up, ladies-boyars!...

4) The use of the union "yes" in the meaning of "and" is typical:

Russia baggy, barefoot,

With towers and prisons.

And in the steppe and free will ...

5) Use of magic numbers:

- "thirty-three fulfilled wishes", "for distant lands";

6) the use of folk signs. For example, in the same song "Oh, dudari, dudari" there are a number of signs indicating that there will be trouble:

... Do not give birth in the winter - they will take away.

The turtledove screamed

Yes, the horseshoe fell in the upper room.

The eagle owl flew into the clearing sat down,

A crow from the steep to the ground thundered.

3.2. Creativity I. Talkov.

Igor Talkoy occupies a special place among the representatives of the author's song, because. he is the author of social, journalistic, civil songs, which are distinguished by genre diversity; these are scream songs, protest songs, confession songs, ballad songs.

1. It should be noteda large number of elements characteristic of colloquial speech:

I'm not going to prophesy
But I know for sure that I'll be back
Even after a hundred centuries
To the country of not fools, but geniuses

1. In paragraph 1 of the work, we noted that historical folk songs reflected the real events of past years. I. Talkov reacted very sharply to the events taking place in Russia and reflected this in his work ("Mr. President" (1991), connected with the political realities of August 1991, "I'll be back", etc.).

3) The use of epithets, metaphors,comparisons and especially repetitions:

Memory no longer stings
Thoughts do not hit on the hands,
I accompany you
to other shores.
You are a migratory bird
Looking for happiness along the way
Come to say goodbye
And leave again.

Summer rain, summer rain
Started early today.

Conclusion.

1. Folk song is distinguished by a wealth of genres, different in origin, character and function in folk life.
2. The author's song, being a sociocultural phenomenon of the 1950s-70s, expressed ideas and images that were different from the official culture of the "Khrushchev era". This movement of youth and urban intelligentsia was characterized by individual self-expression, freedom of expression
3. Modern author's song combines elements of folklore.
4. The widespread use of folk-poetic artistic and visual means traditional for folklore in modern author's song

1. Introduction…………………………………………………………………3

2. Poetics of texts of Russian folk songs……………………………6

4. The influence of folklore on the modern author's song………..13

5. Conclusion………………………………………………………… 17

6. Literature………………………………………………………….18

MBOU secondary school with. Big Popovo

RESEARCH WORK

ON LITERATURE

“FOLKLORE ELEMENTS IN THE MODERN AUTHOR'S SONG”

Prepared

7th grade student

Komarova A.

Supervisor:

teacher of Russian language and literature

Konstantinova G.S.

2012

Literature

1. Literary encyclopedic dictionary. - M., Soviet Encyclopedia, 1987 ..
2. N.I. Kravtsov. Poetics of Russian folk lyrical songs. - M., 1974.
3. S.G. Lazutin. Russian folk lyrical songs, ditties and proverbs. - M., 1990.
4. T.V. Popov. About the songs of our days. - M., 1969.
5. Anthology of author's song. // Russian speech. - Nos. 1-12. – 1990.

Internet resources:

1. grushin. samara. ru - all about the Grushinsky festival of author's song

2. www. bars. ru - everything about bards, biographies, lyrics, audio recordings.

3. lib. ru/KSP/ - lyrics with chords, audio recordings

6. bardz. by. ru - everything about bards, biographies, lyrics, audio recordings.

7.http://www. bardic. ru/ - history, biographies, PCB and more

8 www. mityaev. ru is the site of Oleg Mityaev.

It is alarming that this process is perceived by society as natural and inevitable. Folklore affects the upbringing of a person, household traditions, holidays these are the concepts that have a huge impact on the formation of character. This is a huge layer of spiritual culture that has evolved through the collective efforts of many generations over the centuries. This creates an atmosphere of spiritual poverty and artistic dullness and does not contribute to harmonious and moral development.

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Introduction.

Relevance of the problem.

The displacement of folk traditions from our lives, from the sphere of our artistic interests, damages the creative development of the individual and the whole society, narrows the range of natural ties between generations. It is alarming that this process is perceived by society as natural and inevitable.

The Russian people created a unique oral literature, forms of celebration of folk calendar holidays - songs, round dances, folk games, arts and crafts.

Folklore influences the upbringing of a person, everyday traditions, holidays - these are the concepts that have a huge impact on the formation of character. It contributes to the creative development of children and youth in the world of epics, fairy tales, legends. Proverbs and sayings can serve as the basis for moral precepts, helping to develop thinking, logic, interest in the history and culture of the people. Folklore provides excellent patterns of speech, the imitation of which allows the child to successfully master their native language. Proverbs and sayings are figurative, poetic, they have many personifications, well-aimed definitions.

Folklore is an invaluable national treasure. This is a huge layer of spiritual culture, which has evolved through the collective efforts of many generations over the centuries. Russia at the turn of the twentieth twenty-first centuries is experiencing a crisis in the upbringing of the younger generation. Traditions were broken, the threads that connected the younger and older generations broke. The ruthless chopping off of one's roots, the rejection of nationality in the educational process leads to lack of spirituality, discourages the desire of children to express themselves creatively.

At the present stage of national revival, it is necessary to return to what was achieved by our ancestors.

Problem. Nowadays, many teenagers and children grow up on primitive musical "masterpieces" whose sole purpose is mindless submission to the rhythm and deafening cacophony of sounds. This creates an atmosphere of spiritual poverty and artistic dullness and does not contribute to harmonious and moral development.

Listening to the speech of children, one can note its scarcity, weak attempts to build logical phrases, stories, express thoughts, retell the text. There are words of street jargon in the conversation, and Russian proverbs, fables, sayings, tongue twisters (ancient speech therapy), jokes, songs, amusing and tiresome fairy tales not only reveal the sound beauty of the native word, coordinate movement and speech, but also expand, enrich, activate vocabulary supply of children and teenagers.

Thus, folklore is the main source of knowledge about the principles of education that have developed in the culture of different peoples, its moral, religious and mythical foundations. The figurative and symbolic nature of artistic creativity, its impact on the emotional and sensual sphere of the individual makes it the most adequate means of unobtrusive and at the same time effective for educational impact.

The relevance of the study impliescontradiction between:

• the importance of folklore elements in the upbringing of a person and their insufficient use in the course of a theatrical performance.

Hence the problem that lies in the loss of ties between generations, in ignorance of folklore. Since the appeal to folklore helps to cultivate a culture of behavior, to consolidate moral and ethical values.

This led to the choice research topics "The use of folklore elements in the process of conducting a theatrical performance."

Purpose of the study:use folklore elements in the process of conducting a theatrical performance.

Object of study:holding a theatrical performance.

Subject of study:the use of folklore elements in the process of conducting a theatrical performance.

Research hypothesis: if

• to reveal the concept of "folklore" and its meaning in Russian festive culture,
• highlight the types of folklore,
• to reveal the methodology for using folklore elements in theatrical performances, then we will be able to use folklore elements more actively when conducting a theatrical performance.

Research objectives:

To reveal the concept of "folklore" and its meaning in Russian festive culture.

Discuss the types of folklore.

To reveal the methodology for conducting a Christmas theatrical performance.

To develop a director's explication of the Christmas theatrical performance "Carol came open the gate!"

Write a literary script, as well as prepare and conduct a Christmas theatrical performance "Carol came open the gate!"

The theoretical and methodological basis of the study was:

fundamentals of the theory of directing theatrical holidays and rituals - A.A. Konovich, D.M. Genkin;

the foundations of the theory of stage direction and mass performances - I.G. Sharoeva, Yu.M. Chernyak;

provisions on the basics of dramaturgy of theatrical performances - A.I. Chechetin, D.N. Alya;

ideas of using folklore in staging theatrical performances - E.V. Pomerantseva, V.P. Anikina, N.I. Kravtsova;

Methodology of Comparative Historical Study of Folklore BN Putilov;

Implementation of traditional folklore in cultural leisure activities G.A. Savinkin.

Research methods:the study used a set of theoretical and practical methods:

• analysis and synthesis of scientific, professional, methodical literature, comparison of concepts,
• professional modeling - staging a theatrical performance.

Research base:Municipal Budgetary Institution of Culture Verkhotulsky Rural House of Culture branch of the Municipal Budgetary Institution of Culture of the Regional Center for Culture and Leisure of the Arbazhsky district.

Theoretical significance of the study:consists in the fact that it was possible to single out and systematize folklore elements in the process of preparing a theatrical performance; use folklore elements in the process of writing a literary script.

Practical significance of the studylies in the fact that the research materials can be used to create a scenario development of Christmas theatrical programs.

The materials of this thesis can be used in the further study of the problem taken as additional methodological literature.

The structure of the thesis:research work consists of an introduction, two chapters, conclusion, list of references, applications.

1. Theoretical foundations for the use of folklore elements in the process of conducting a theatrical performance.

1.1. The concept of folklore, types and classification.

Folklore as a special kind of art is a qualitatively unique component of fiction. It integrates the culture of the society of a certain ethnicity at a special stage in the historical development of society.

Folklore is ambiguous: it manifests both boundless folk wisdom, and folk conservatism, inertia. In any case, folklore embodies the highest spiritual forces of the people, reflects the elements of the national artistic consciousness.

The very term "folklore" (from the English word folk lore - folk wisdom) the name of folk art common in international scientific terminology. The term was first introduced in 1846 by the English archaeologist W. J. Thomson. As an official scientific concept, it was first adopted by the English Folk Society ( Folklore Society ), founded in 1878. In 1800-1990, the term entered into scientific use in many countries of the world.

Folklore "folk wisdom") folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses of the people (tradition, songs, ditties, anecdotes, fairy tales, epic), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, visual and arts and crafts.

Folklore is creativity that does not require any material and where the person himself is the means of embodying the artistic intention. Folklore has a clearly expressed didactic orientation. Much of it was created specifically for children and was dictated by the great people's concern for young people and their future. "Folklore" serves the child from his very birth.

Folk poetry reveals the most significant connections and patterns of life, leaving aside the individual, the special. Folklore gives them the most important and simple concepts about life and people. It reflects the general interest and the vital, what affects everyone and everyone: the work of a person, his relationship with nature, life in a team.

The value of folklore as an important part in education and development in the modern world is well known and generally recognized. Folklore always responds sensitively to people's requests, being a reflection of the collective mind, accumulated life experience.

The main features and properties of folklore:

1. Bifunctionality. Each folklore work is an organic part of human life and is conditioned by practical purpose. It is focused on a certain moment of people's life. For example, a lullaby it is sung to soothe, lull a child to sleep. When the child falls asleep, the song stops it is no longer needed. This is how the aesthetic, spiritual and practical function of the lullaby is manifested. Everything is interconnected in the work, beauty cannot be separated from benefit, benefit from beauty.

2.Polyelement.Folklore is polyelemental, since its internal diversity and numerous interconnections of an artistic, cultural historical and social cultural nature are obvious.

Not every folklore work includes all artistic and figurative elements. There are also genres in which their minimum number. The performance of a folklore work is the integrity of the creative act. Among the many artistic and figurative elements of folklore, they are distinguished as the main verbal, musical, dance and mimic. Polyelementity is manifested during the event, for example, “Burn, burn clearly so that it does not go out!” or when studying the round dance of the game "Boyars", where row-by-row movements occur. In this game, all the main artistic and figurative elements interact. Verbal and musical are manifested in the musical poetic genre of the song, performed simultaneously with the choreographic movement (dance element). This manifests the polyelement nature of folklore, its original synthesis, called syncretism. Syncretism characterizes the interconnection, integrity of the internal components and properties of folklore.

3. Collectivity. Absence of the author. Collectivity is manifested both in the process of creating a work and in the nature of the content, which always objectively reflects the psychology of many people. Asking who wrote a folk song is like asking who wrote the language we speak. Collectivity is due to the performance of folklore works. Lead some components of their forms, for example, the chorus, require the mandatory inclusion in the performance of all participants in the action.

4. Lack of writing.Orality in the transmission of folklore material is manifested in the absence of writing in the forms of transmission of folklore information. Artistic images and skills are transmitted from the performer, the artist to the listener and viewer, from the master to the student.Folklore oral creativity. It lives only in the memory of people and is transmitted in a live performance "by word of mouth". Artistic images and skills are transmitted from the performer, the artist to the listener and viewer, from the master to the student.

5. Tradition. The variety of creative manifestations in folklore only outwardly seems spontaneous. Over a long period of time, objective ideals of creativity have evolved. These ideals became those practical and aesthetic standards, deviations from which would be inappropriate.

6.Variability. Variation of the network is one of the incentives for constant movement, "breathing" of a folklore work, and each folklore work is always, as it were, a variant of itself. The folklore text turns out to be unfinished, open to each subsequent performer. For example, in the round dance game "Boyars", children move "row by row", and the step may be different. In some places it is a regular step with an accent on the last syllable of the line, in others it is a step with an inflow on the last two syllables, in the third it is a variable step. It is important to bring to consciousness the idea that creation performance and performance creation coexist in a folklore work. Variability can be considered as the variability of works of art, their uniqueness when performed or in another form of reproduction. Each author or performer supplemented traditional images or works with his own reading or vision.

7. Improvisation is a feature of folk art. Each new performance of the work is enriched with new elements (textual, methodical, rhythmic, dynamic, harmonic). brought by the performer. Any performer constantly introduces his own material into a well-known work, which contributes to the constant development, change of the work, during which the reference artistic image crystallizes. Thus, the folklore performance becomes the result of many years of collective creativity.

In modern literature, the broad interpretation of folklore as a combination of folk traditions, customs, views, beliefs, and arts is common.

In particular, the famous folklorist V.E. Gusev in the book "Aesthetics of Folklore" considers this concept as an artistic reflection of reality, carried out in verbal, musical, choreographic and dramatic forms of collective folk art, expressing the worldview of the working masses and inextricably linked with life and everyday life. Folklore is a complex, synthetic art. Often in his works elements of various types of arts are combined - verbal, musical, theatrical. It is studied by various sciences history, psychology, sociology, ethnography. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scholars took a broad approach to folklore, recording not only works of verbal art, but also recording various ethnographic details and the realities of peasant life.

The main aspects of the content of folk culture include: the worldview of the people, folk experience, housing, costume, work, leisure, crafts, family relations, folk holidays and rituals, knowledge and skills, artistic creativity. It should be noted that, like any other social phenomenon, folk culture has specific features, among which it is worth highlighting: an inextricable connection with nature, with the environment; openness, educational nature of the folk culture of Russia, the ability to contact with the culture of other peoples, dialogue, originality, integrity, situationality, the presence of a purposeful emotional charge, the preservation of elements of pagan and Orthodox culture.

Traditions and folklore are wealth developed by generations and conveying historical experience and cultural heritage in an emotionally figurative form. In the cultural and creative conscious activity of the broad masses, folk traditions, folklore and artistic modernity merge in a single channel.

The main functions of folklore include religious mythological, ritual, ritual, artistic aesthetic, pedagogical, communicative informational, social psychological.

Folklore is very diverse. There is traditional, modern, peasant and urban folklore.

Traditional folklore is those forms and mechanisms of artistic culture that are preserved, fixed and transmitted from generation to generation. They capture universal aesthetic values ​​that retain their significance beyond specific historical social changes.

Traditional folklore is divided into two groups - ritual and non-ritual.

Ritual folklore includes:

calendar folklore (carols, carnival songs, stoneflies);

family folklore (wedding, maternity, funeral rites, lullabies, etc.),

occasional folklore (charms, incantations, incantations).

Non-ritual folklore is divided into four groups:

folklore of speech situations (proverbs, sayings, riddles, teasers, nicknames, curses);

poetry (chastushki, songs);

folklore drama (Petrushka theatre, crib drama);

prose [5, p. 5].

Folklore poetry includes: bylina , historical song, spiritual verse , lyric song, ballad, cruel romance, ditty , children's poetic songs (poetry parodies), sadistic rhymes. Folklore prose is again divided into two groups: fabulous and non-fabulous. Fairy tales include: story (which, in turn, is of four types:fairy tale, fairy tale about animals, household fairy tale,cumulative tale) and an anecdote. Non-fairytale prose includes: tradition, legend, story , mythological story, dream story. The folklore of speech situations includes: proverbs, sayings , good wishes, curses, nicknames , teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti , albums (for example, songbooks).

Ritual folklore is folklore genres performed within the framework of various rituals. The most successful, in my opinion, was the definition of the rite by D.M. Ugrinovich: “A rite is a certain way of transferring certain ideas, norms of behavior, values ​​and feelings to new generations. The rite is distinguished from other ways of such transmission by its symbolic nature. This is its specificity. Ritual actions always act as symbols that embody certain social ideas, ideas, images and evoke corresponding feelings.The works of calendar folklore are timed to coincide with the folk annual holidays, which had an agricultural character.

Calendar rituals were accompanied by special songs: carols, Shrovetide songs, stoneflies, Semitsky songs, etc.

Vesnyanki (spring calls) are ritual songs of an incantatory nature that accompany the Slavic rite of calling spring.

Carols are New Year's songs. They were performed during Christmas time (from December 24 to January 6), when caroling was going on. Caroling walking around the yards with carol songs. For these songs, carolers were rewarded with gifts and festive treats. The main meaning of carols is magnificence. Carolers give an ideal description of the house of the magnified. It turns out that before us is not an ordinary peasant hut, but a tower, around which “there is an iron tyn”, “on each stamen there is a dome”, and on each dome “a golden crown”. Match this tower and the people living in it. Pictures of wealth are not reality, but the desired: carols perform to some extent the functions of a magic spell.

Maslenitsa is a folk holiday cycle that has been preserved among the Slavs since pagan times. The rite is associated with the farewell to winter and the meeting of spring, which lasts a whole week. The celebration was carried out according to a strict schedule, which was reflected in the names of the days of the Pancake week: Monday - "meeting", Tuesday - "flirty", Wednesday - "gourmet", Thursday - "revelry", Friday - "mother-in-law evening", Saturday - "sister-in-law gatherings ”, Sunday - “seeing off”, the end of the Maslenitsa fun.

Few Shrovetide songs have come down. By subject and purpose, they are divided into two groups: one is associated with the rite of meeting, the other - with the rite of farewell ("funeral") Maslenitsa. The songs of the first group are distinguished by a major, cheerful character. This is, first of all, a majestic song in honor of Maslenitsa. The songs accompanying the farewell to Maslenitsa have a minor key. The "funeral" of Maslenitsa meant seeing off winter and a spell, a greeting for the coming spring.

Family rituals are predetermined by the cycle of human life. They are divided into maternity, wedding, recruiting and funeral.

Birthing rites sought to protect the newborn from hostile mystical forces, and also assumed the well-being of the infant in life. A ritual washing of the newborn was performed, health was spoken of by various sentences.

Wedding ceremony. It is a kind of folk performance, where all the roles are painted and there are even directors - matchmaker or matchmaker. The special scale and significance of this rite should show the significance of the event, play the meaning of the ongoing change in a person's life.

The rite educates the behavior of the bride in the future married life and educates all the participants of the rite present. It shows the patriarchal nature of family life, its way of life.

Funeral rites. During the funeral, various rituals were performed, which were accompanied by special funeral lamentations. Funeral lamentations truthfully reflected life, everyday consciousness of the peasant, love for the deceased and fear of the future, the tragic situation of the family in harsh conditions.

Occasional folklore (from lat. occasionalis random) not corresponding to the generally accepted use, having an individual character.

A variety of occasional folklore are conspiracies.

SPELLS folk-poetic incantatory verbal formula to which magical power is attributed.

CHALLENGES an appeal to the sun and other natural phenomena, as well as to animals and especially often to birds, which were considered messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish it to come soon, complain about the winter, complain.

COUNTERS a type of children's creativity, small poetic texts with a clear rhyme-rhythmic structure in a playful form.

Genres of non-ritual folklore evolved under the influence of syncretism.

It includes the folklore of speech situations: proverbs, fables, omens and sayings. They contain a person's judgments about the way of life, about work, about higher natural forces, statements about human affairs. This is a vast area of ​​moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior. In a word, their functionality covers almost all ideological areas.

MYSTERY - works with hidden meanings. They have a rich fiction, wit, poetry, figurative structure of colloquial speech. The people themselves aptly defined the riddle: "Without a face in a disguise." The subject that is conceived, the “face”, is hidden under the “mask” - allegory or allusion, roundabout speech, bluff. No matter how many riddles are invented to test attention, ingenuity, quick wits. Some consist of a simple question, others look like puzzles. It is easy to solve riddles for those who have a good idea of ​​the objects and phenomena in question, and also know how to unravel the hidden meaning in words. If a child looks at the world around him with attentive, keen eyes, noticing its beauty and richness, then every tricky question and every allegory in a riddle will be solved.

PROVERB - as a genre, unlike the riddle, is not an allegory. In it, a certain action or deed is given an expanded meaning.In their form, folk riddles adjoin proverbs: the same measured, folded speech, the same frequent use of rhyme and consonance of words. But the proverb and the riddle differ in that the riddle must be guessed, and the proverb is a lesson.

Unlike a proverb, a SAYING is not a complete judgment. This is a figurative expression used in an extended sense.

Sayings, like proverbs, remain living folklore genres: they are constantly found in our everyday speech. The prepositions contain a capacious playful definition of the inhabitants of a locality, city, living in the neighborhood or somewhere far away.

Folklore poetry is epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs.

BYLINA folklore epic song, a genre characteristic of the Russian tradition. Such epics as "Sadko", "Ilya Muromets and the Nightingale the Robber", "Volga and Mikula Selyaninovich" and others are known. The term "epic" was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov. The basis of the plot of the epic is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic “old”, “old”, implying that the action in question took place in the past).

FOLK SONGS are very diverse in their composition. In addition to songs that are part of the calendar, wedding and funeral rites. These are round dances. Game and dance songs. A large group of songs are lyrical non-ritual songs (love, family, Cossack, soldier, coachman, robber and others).

A special genre of songwriting is historical songs. Such songs tell about the famous events of Russian history. Heroes of historical songs are real personalities.

Round dance songs, like ritual ones, had a magical meaning. Round dance and game songs depicted scenes from the wedding ceremony and family life.

LYRICAL SONGS are folk songs that express the personal feelings and moods of the singers. Lyrical songs are original both in content and in artistic form. Their originality is determined by genre nature and specific conditions of origin and development. Here we are dealing with a lyrical kind of poetry, different from epic in terms of the principles of reflecting reality. ON THE. Dobrolyubov wrote that in folk lyrical songs "an inner feeling is expressed, excited by the phenomena of ordinary life", and N.A. Radishchev saw in them a reflection of the people's soul, spiritual grief.

Lyrical songs are a vivid example of the artistic creativity of the people. They introduced a special artistic language and samples of high poetry into the national culture, reflected the spiritual beauty, ideals and aspirations of the people, the moral foundations of peasant life.

Chastushki is one of the youngest folklore genres. These are small rhyming poems. The first ditties were excerpts from songs of a large size. Chastushka comic genre. It contains a sharp thought, apt observation. Topics are varied. Chastushki often ridiculed what seemed wild, ridiculous, nasty.

CHILDREN'S FOLKLORE is commonly referred to as works that are performed by adults for children, as well as those composed by the children themselves. Lullabies, pestles, nursery rhymes, tongue twisters and incantations, teasers, rhymes, absurdities, etc. belong to children's folklore. Modern children's folklore has been enriched with new genres. These are horror stories, mischievous rhymes and songs (funny alterations of famous songs and poems), anecdotes.

There are various connections between folklore and literature. First of all, literature is derived from folklore. The main genres of drama that developed in ancient Greece - tragedies and comedies - go back to religious rites. Medieval romances of chivalry, about journeys through fictional lands, about fights with monsters, and about the love of brave warriors, are based on the motifs of fairy tales. Literary lyric works originate from folk lyric songs. The genre of a small action-packed narrative short story goes back to folk everyday tales.

Very often, writers deliberately turned to folklore traditions. Interest in oral folk art, fascination with folklore awakened in the pre-romantic and romantic eras.

The tales of A.S. Pushkin go back to the plots of Russian fairy tales. Imitation of Russian folk historical songs “A song about Tsar Ivan Vasilyevich…” by M.Yu. Lermontov. N.A. Nekrasov recreated the style features of folk songs in his poems about the hard peasant lot.

Folklore not only influences literature, but is itself affected in the opposite way. Many author's poems have become folk songs. The most famous example is the poem by I.Z. Surikov “Steppe and steppe all around ..”

folklore drama. It includes: Petrushka theatre, religious drama, crib drama.

Nativity scene drama got its name from a nativity scene - a portable puppet theater that has the shape of a two-story wooden box, resembling a stage platform for the performance of medieval mysteries in architecture. In turn, the name, which came from the plot of the main play, in which the action developed in a cave nativity scene. The theater of this type was widespread in Western Europe, and it came to Russia with itinerant puppeteers from Ukraine and Belarus. The repertoire consisted of plays of religious themes and satirical skits - interludes, which had an improvisational character. The most popular play is King Herod.

PETRUSH THEATER glove puppet theatre. The main character of the play is a resilient Petrushka with a big nose, protruding chin, with a cap on his head, with the participation of which a number of scenes are played out with various characters. The number of characters reached fifty, these are such characters as a soldier, a gentleman, a gypsy, a bride, a doctor and others. Such performances used the techniques of folk comic speech, lively dialogues with a play on words and contrasts, with elements of self-praise, with the use of action and gestures.

The Petrushki Theater was created not only under the influence of Russian, Slavic, Western European puppet traditions. It was a kind of folk theatrical culture, part of the extremely developed in Russia (spectacular folklore). Therefore, a lot of things unite it with folk drama, with performances of farce grandfathers-barkers, with sentences of friends at a wedding, with amusing popular prints, with jokes of raeshniks, etc.

The special atmosphere of the city's festive square explains, for example, Petrushka's familiarity, his unbridled gaiety and promiscuity as an object of ridicule and shame. After all, Petrushka beats not only class enemies, but everyone in a row from his own bride to the quarter, often beats for no reason at all (Arapa, a beggar old woman, a German clown, etc.), in the end he hits him too: the dog is merciless pats him on the nose. The puppeteer, as well as other participants in the fair, square fun, is attracted by the very opportunity to ridicule, parody, bludgeon, and the more, louder, unexpected, sharper, the better. Elements of social protest, satire were very successfully and naturally superimposed on this ancient comic base.

Like all folklore amusements, "Petrushka" is stuffed with obscenities and curses. The primordial meaning of these elements has been studied quite fully, and how deeply they penetrated into the folk culture of laughter and what place swearing, verbal obscenity and degrading, cynical gestures occupied in it, is fully shown by M.M. Bakhtin.

Performances were shown several times a day in different conditions (at fairs, in front of the booth, on the streets of the city, in the suburbs). "Walking" Petrushka was the most common use of the doll.

A light screen, puppets, miniature backstage and a curtain were specially made for the mobile folklore theater. Petrushka ran around the stage, his gestures and movements created the appearance of a living person.

The comic effect of the episodes was achieved by techniques typical of folk culture of laughter: fights, beatings, obscenities, imaginary deafness of a partner, funny movements and gestures, mocking, fun funerals, etc.

There are conflicting opinions about the reasons for the extraordinary popularity of the theater: topicality, satirical and social orientation, comic character, a simple and understandable game for all segments of the population, the charm of the main character, acting improvisation, freedom of choice of material, the puppet's sharp language.

Parsley is a folk holiday fun.

Parsley is a manifestation of popular optimism, the mockery of the poor over the powerful and the rich.

Folklore prose. It is divided into two groups: fabulous (fairy tale, anecdote) and non-fairytale (legend, tradition, bylichka).

TALE the most famous genre of folklore. This is a type of folklore prose, the distinguishing feature of which is fiction. Plots, events and characters are fictional in fairy tales. The modern reader of folklore discovers fiction in other genres of oral folk art. Folk storytellers and listeners believed in the truth of the bylichki (the name comes from the word "truth" - "truth"); the word "epic" was invented by folklorists; the people called epics "old times". Russian peasants who said and listened to epics, believing in their truth, believed that the events depicted in them took place a long time ago in the time of mighty heroes and fire-breathing snakes. They did not believe in fairy tales, knowing that they tell about something that did not exist, does not exist, and cannot be.

It is customary to distinguish four types of fairy tales: fairy tales, household (otherwise novelistic), cumulative (otherwise "chain-like") and fairy tales about animals.

MAGIC FAIRY TALES differ from other fairy tales in a complex, detailed plot, which consists of a number of unchanging motifs that necessarily follow each other in a certain order. These are fantastic creatures (for example, Koschei the Immortal or Baba Yaga), and an animated, human-like character denoting winter (Morozko), and wonderful objects (self-assembled tablecloth, walking boots, flying carpet, etc.).

In fairy tales, the memory of performances and rituals that existed in deep, deep antiquity is preserved. They reflect the ancient relationships between people in a family or clan.

HOUSEHOLD TALES tell about people, about their family life, about the relationship between the owner and the farmhand, the master and the peasant, the peasant and the priest, the soldier and the priest. A commoner - a farm laborer, a peasant who has returned from the service of a soldier - is always smarter than a priest or a landowner, from whom, thanks to cunning, he takes money, things, and sometimes his wife. Usually in the center of the plots of everyday fairy tales there is some unexpected event, an unforeseen turning point that occurs due to the cunning of the hero.

Household tales are often satirical. They ridicule the greed and stupidity of those in power. They do not tell about miraculous things and travels to the Far Far Away kingdom, but about things from peasant everyday life. But household tales are no more believable than fairy tales. Therefore, the description of wild, immoral, terrible acts in everyday fairy tales does not cause disgust or indignation, but cheerful laughter.After all, this is not life, but a fiction.

Everyday fairy tales are a much younger genre than other varieties of fairy tales. In modern folklore, the anecdote (from gr. anekdotos "unpublished"

CUMULATIVE TALES built on repeated repetition of the same actions or events. In cumulative (from lat. Cumulatio accumulation) in fairy tales, several plot principles are distinguished: the accumulation of characters in order to achieve the necessary goal; a heap of actions ending in disaster; a chain of human or animal bodies; forcing episodes, defiantly unjustified experiences of the characters.

The accumulation of heroes helping in some important action is evident in the fairy tale "Turnip".

Cumulative fairy tales are a very ancient kind of fairy tales. They have not been studied enough.

In TALES ABOUT ANIMALS, the memory of ancient ideas has been preserved, according to which people descended from ancestors animals. Animals in these tales behave like people. Cunning and sly animals deceive others gullible and stupid, and this trickery is never condemned. The plots of fairy tales about animals are reminiscent of mythological stories about heroes rogues and their tricks.

Fairy tale prose these are stories and incidents from life that tell about a person’s meeting with characters of Russian demonology sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles about the communication of a person who has accepted the Christian faith with powers of a higher order.

BYLICHKA folklore genre, a story about a miraculous event that allegedly happened in reality - mainly about a meeting with spirits, "evil spirits".

LEGEND (from lat. legenda "reading", "readable) one of the varieties of non-fairytale prose folklore. Written tradition about some historical events or personalities. Legend is an approximate synonym for the concept of myth; an epic story about what happened in time immemorial; the main characters of the story are usually heroes in the full sense of the word, often gods and other supernatural forces are directly involved in the events. The events in the legend are often exaggerated, a lot of fiction is added. Therefore, scientists do not consider the legends to be completely reliable historical evidence, without denying, however, that most of the legends are based on real events. In a figurative sense, legends refer to glorious, admirable events of the past, depicted in fairy tales, stories, etc. As a rule, they contain additional religious or social pathos.

The legends contain memories of the events of antiquity, an explanation of some phenomenon, name or custom.

The words of Odoevsky sound surprisingly relevant.V.F. remarkable Russian, thinker, musician: “We must not forget that from an unnatural life, that is, one where human needs are not satisfied, a painful state occurs ... in the same way, idiocy can occur from the inaction of thought ..., a muscle is paralyzed from an abnormal state of the nerve, In the same way, the artistic feeling is distorted by a lack of thinking, and the absence of an artistic feeling paralyzes thought. At OdoevskyV.F. one can find thoughts about the aesthetic education of children on the basis of folklore, consonant with what we would like to bring to life today in the field of children's education and upbringing: “... in the field of human spiritual activity, I will limit myself to the following remark: the soul expresses itself either through body movements, , colors, or through a series of sounds that form singing or playing a musical instrument "

1.2. Folklore Russian holidays, traditions, types, features of the celebration.

As you know, the symbolism of the festive culture is the most important part of the entire culture of the Russian people. Since the early Middle Ages, the phenomenon of a mass holiday (or mass celebrations) has appeared in Russia. Medieval mass holidays are often called an action in which "there were no spectators, but only participants." So, until the 16th century, folk fun in Russia took place mainly on Shrovetide, Christmas time. However, many festivities in Russia acquired a peculiar chaotic character due to the intervention of the church in the festive culture of the people. So, V. Petrukhin notes that it has long become a true statement about the pagan pre-Christian origins of Christmas caroling, carnival, Rusal week, night on Ivan Kupala.

And how Russian folk holidays enchant and surprise with their culture and majesty, inspiring the centuries-old beauty and wisdom of the people! Russians know, remember and understand what and how they celebrate, carefully preserve and honor grandiose traditions. It is not for nothing that hundreds of thousands of spectators, foreigners, come to watch Russian celebrations.

There are and were great holidays in Russia, obligatory for everyone. These days, villages, villages, were freed from all work, people dressed smartly, and chose blissful, pleasant topics for conversation. Most of all, Easter, Christmas and the Trinity were revered. Maslenitsa, Spas, Ivanov and Petrov days were celebrated with festivities. As usual, the holiday in the morning began with a visit to the church, and continued at home and in nature. Also, the twelfth feasts were dedicated to rest and communion with God. This is, first of all, the Exaltation, Baptism, the Annunciation, the Transfiguration of the Lord, the Assumption of the Most Holy Theotokos. There are twelve such holidays in total, as they used to say in the old days “Two for ten”.

December 4 Maternal Holiness Day (Entrance of the Most Holy Theotokos into the Temple). This celebration belongs to the twelfth feasts, established to honor the truth, which tells the story of bringing the future Mother of God the angelic darling Mary to the Jerusalem Temple for consecration to God. This is the day of maternal purity, chastity and holiness.Celebration history.In the Jewish small town of Nazareth lived the Holy Family of Jokim and Anna. They were not young, but wealthy. They were very upset that they did not have children. Finally, after their vow to dedicate their unborn child to the service of God, their long-awaited Baby daughter was born. The holy virgins of the Jews looked after her, they did not miss anything vicious. And the girl grew up blessed by the power of God. In the year she was named Mary. The introduction of the Blessed Virgin Mary into the Temple of Mary equaled three years, and the righteous parents hurried to sacredly observe the vow. Met Deva. The High Priest Zachary himself. And, according to Tradition, he did what was forbidden by law: he brought her into the Holy of Holies, the most sacred place in the temple. This was the appearance of the Mother of God to the World and the day of the separation of the Holy Virgin from the World, which confirmed her higher destiny. The Blessed Virgin stayed in God's Temple until the age of fourteen. The Feast of the Entry into the Church of the Most Holy Theotokos is exalted as the beginning of the salvation of all mankind. It is not for nothing that believers have considered her their mother for almost two thousand years.

From December 24 January 6 Christmas was celebrated. In another way, it is also called Christmas Eve.History of Christmas. This story began on holy land in ancient Palestine. The Virgin Mary in her last month of pregnancy with her husband had to travel a long way to Bethlehem for the census. But there was no place for them to stay in the city for the night, and they found a place to sleep outside Bethlehem in a cattle cave in which the shepherds waited out the bad weather. There Mary gave birth to a son of God. The heavens were illuminated with a mysterious bright light emanating from the star of Bethlehem, which suddenly appeared for the first time, announcing the birth of the Savior to the whole world and now becoming an attribute of Christmas. The light of the star showed the way to the wise men of the East, the magi, who generously gave the baby gold, frankincense and myrrh (precious fragrant oil). This is where the tradition of giving gifts to children at Christmas originates, and Christmas Eve was called the Night of Babies. This is a family holiday. Only relatives and friends gathered at the table. The traditional festive color of Christmas is white.

Christmas traditions: women prepared a festive table for Christmas Eve, and men prepared the table itself. They brought stalks of straw, which they put under the tablecloth. All dishes were tied with red threads crosswise. This is a symbol of the birth of the son of God in the hay (no less than twelve) were staged with songs. Main course Christmas kutia.

Attributes are traditional: decorated Christmas tree on top with a star, Christmas cards, decorative candles, Christmas wreath.Notes for Christmas:if on the night of Christmas there is a starry sky and clear weather, then this is for a fruitful and hospitable year. On Christmas it was forbidden: sewing, embroidering, knitting, sewing on buttons (so that none of the relatives lost their sight); clean, wash, wash, sweep (so that bad weather does not touch relatives); to lose any thing (so that there are no losses in the house); drop a mirror (so that there is no trouble); foreign women enter the house first.

From Christmas began Christmas time holidays that lasted until Epiphany (January 19). All this time, Christmastide rites, fortune-telling, amusements, walking mummers through the yards and streets took place. On Christmas early in the morning, before dawn, the rite of seeding the huts was held. The shepherd walked with a sack of oats and, entering the house, threw a handful of grain on all sides (scattered) with a sentence: "For the living, for the fruitful and for health." At Christmas, the girls did not guess. There was a sign: if a strange woman enters the house first, the women in this family will be ill all day.

The second day of Christmas is called the Cathedral of the Virgin, dedicated to the glorification of the Mother of Christ, the Blessed Virgin Mary. On this day, the children united in a group of five people, and went from house to house, congratulating everyone on Christmas, one of them carried a star in his hands. Entering the hut, they performed a Christmas prayer. Then they sprinkled the hut and all the people in it with grain. Bypassing the courtyard with a star was interpreted as the arrival of the Magi, who were led by a wonderful star that rose over Bethlehem at the time of the birth of the baby Jesus Christ. Sprinkling with grain was perceived as a wish for wealth to the house in the coming new year.

The third day of Christmas was called Stepanov's Day. According to custom, on Stepanov's day, stakes were made, placed in the corners of the yard, sticking into the snow in order to frighten away evil spirits. On this day, the whole village chose a shepherd, concluded an agreement with him, arranged treats. And the girls wondered. They mostly guessed at the betrothed. In the days caroling took place. Caroling took place under the windows of houses, caroling people were not allowed into the house. And the main treat was considered cookies. Costumed people in fur coats turned inside out, in masks or with soot-stained faces, went from house to house, singing songs and playing various performances, sometimes they took a horse or a bull with them. Approaching the house, under the window, the youth began to “call out a carol”, informing the owners that they had come. Then the magnificence of the owner, mistress, “little children children” began, which described the fantastic wealth of the house. The hosts served them refreshments. Caroling ended with songs and spells. The carolers promised the family in the new year “rye to the dinner-maker, beggar, prickly-peeler, ninety bulls, one hundred and ten cows” - all that is needed for a happy life of a farmer. Caroling was performed three times: on Christmas Eve, on the eve of St. Basil's Day, on Epiphany Eve.

Games of mummers: mummers could also be called dress-ups, okutniki, shelikuns, sorcerers. On Christmastide evenings, gangs of disguised youth burst into the huts with noise, whistle, din for festive parties - "games". The masks of the mummers were called "masks", "mugs", "mugs". These "masks" were given to the person who dressed her inhuman appearance, it was a concentrated expression of someone else's dangerous essence. Often dressed up as a bear, horse, goat, bull. Among the entertaining games, the game “goat and bear” was very popular (Kozy danced to the song on the balalaika, the accordion, turning either sideways, then the other, performed complex “knees”. The bear the guy in the turned-out sheepskin coat tried clumsily to play along with the goat. Suddenly the goat fell screaming “died”, then jumped up “resurrected”, and the dance continued), the game “die on” - the deceased (the mummers brought into the hut a guy in a white shroud, with a face sprinkled with flour, with long teeth, carved from swede, threw it on the floor and, to the general loud laughter, mourned him and buried him, parodying the church rite. At the most crucial moment of the "funeral" the guy jumped up. "Die is risen!" kiss) in this ritual playful form, ancient ideas about death as the end of the old and the “resurrection” of the new year were transmitted.

It is generally accepted that the games of mummers are an imitation of the arrival of an unclean and unknown force from the "other world" to our world. Also, these games provided the "resurrection" of the sun, nature, demonstrated the triumph of life over death.

January 25 Tatyana's Day or according to the folk calendar is the Day of the Sun. The Holy Martyr Tatiana helps students in studying especially difficult subjects and overcoming all kinds of underwater reefs in the learning process. In another way, this holiday is called Student's Day, Birthday of Moscow University.Holiday features:magic love spell the girl made a whisk of feathers in advance and hid it in the house of the boy she liked in order to live together in the future; they baked a loaf the sun, where everyone was distributed a piece, so symbolically the warmth of the sun was distributed in the family. Signs: the sunset is painted in red colors - for a windy summer; if it snows the summer will be rainy; frost summer will be hot, dry.

February 15 Meeting of the Lord. The second twelfth holiday of the year. The folk calendar celebrates the holiday of Gromnitsa. In Russia, they began to celebrate in the 10th century. “Sretenie” in Church Slavonic is translated as “meeting”. The Presentation of the Lord was celebrated on the fortieth birthday of Jesus Christ. The Candlemas symbolically denotes the meeting of mankind in the guise of the righteous elder Simeon with the forty-day-old Divine Infant and points to one of the most significant events from the earthly life of Jesus Christ. On the feast of the Meeting of the Lord, the veneration of fire was customary, and the ceremony of consecrating candles was held. Lit (consecrated) candles (tombs) symbolize the Light of Christ, like a flame of God's Grace, purifying the whole world. The tombs (candles) helped protect oneself from demons, thunder and lightning, rain and hail, so the tombs were carefully kept all year round, and used as needed for prayers at home.Folk customs and signs for the Candlemas: among our distant ancestors, this holiday was perceived as the first meeting of winter with spring. "On the Meeting of Spring red meets Zimushka." Ritual fisticuffs zimobors were arranged. To do this, they dressed up in spring clothes (caftans) and winter clothes (fur coats), went out into the street and fought with their fists. If those who were dressed in fur coats won, then they talked about a long winter. And, if someone is in caftans, then they said that spring overcame winter and be sunny and early. During the Sretensky service, water collected from melted snow and drops was blessed. On the day of the meeting, eggs were not boiled, milk was not taken out of the yard in order to avoid infertility in animals and birds.

End of February beginning of March Maslenitsa. According to the folk calendar, this period can be divided into two parts: Shrovetide is narrow and wide.

Consider these two parts: Pancake week narrow Covers Monday, Tuesday and Wednesday Start of Maslenitsa. These days it is allowed to perform various chores: wash, clean. Pancake week wideIncludes the remaining days of the week: Thursday, Friday, Saturday and Sunday. On these days, chores stopped and people indulged in fun.

In another way, Maslenitsa is also called seeing off winter. This holiday has collected many folk customs parental Saturday, meat Sunday, jumping over the fire, bridesmaids. They also burned an effigy of Maslenitsa to make room for something new: things, impressions, a life stage. Those objects that symbolized various diseases were hung on the effigy of Maslenitsa: scarves, gauze, sticks, even crutches. And many got rid of their ailments. Even the holiday itself in some way bears a pronounced funeral symbolism: the features of the feast are fistfights, constant horse races, visits to cemeteries and hearty meals with pancakes. The main symbol of Maslenitsa is pancake, which symbolizes the main dish of the funeral table. In addition, it was on Shrovetide that brides were held and contracts for future weddings were concluded. Jumping over a fire was considered a special ritual. The flame, according to the beliefs of the ancestors, had an excellent cleansing and protective power. Not only young men and women jumped over the fire (future spouses whom the fire holds together forever), but also quite mature (even in old age) people who sought to get rid of their illnesses. And today this custom is very popular for the celebration of Maslenitsa!

April 1 Awakening of Brownie. April 1st is the milestone where, in the second spring month, the domestic spirit wakes up from the winter slumber. Belief in brownies arose much earlier than our ancestors began to take all kinds of gods for truth. In ancient times, spring was celebrated on March 22 and marked this day with the spring equinox. After a long winter hibernation, the brownie was mischievous, capricious. Therefore, our ancestors made attempts to calm the brownie in various ways: they treated them with sweet buns, milk, pancakes; did a general cleaning in advance, as Brownie loves cleanliness; hung bedding outside to dry; disinfected the room with incense, juniper, wormwood; all family members had to take a steam bath in order to welcome the domestic spirit with a pure soul and body. And the most important thing on this day is the pranks of people, fun for others. Items of clothing were worn topsy-turvy inside out, socks of different colors. Therefore, April 1 is considered to this day Day of laughter and fun. According to the introduced tradition, it meant that if on April 1 it came out to “fool” 12 persons, then luck would follow the cunning one all year. But if suddenly, he didn’t “fool” a single one, there will be no luck, no matter how zealous he is.

April 7 Annunciation. This is a holiday of perfect freedom and peace. Believers adhere to Great Lent before Easter. The history of the holiday Archangel Gabriel brought three blessings to the Virgin Mary (about the upcoming birth of the Savior of the world, the Son of God will be born, and the resurrection of Jesus). Therefore, people called such a day Annunciation. In honor of the celebration of the Annunciation in Russia, numerous churches and cathedrals have been erected or renamed. Traditions: calls “calling spring” (light fires, dance around them, singing stoneflies; bake waders, larks, swallows from dough); prosphora (church bread) it was necessary to eat a piece of prosphora for the health of the whole family; "Freedom to the birds!" - birds were released from cages. Signs: windy day with fog fruitful summer; rain abundance of mushrooms and berries; thunderstorm abundance of nuts; frost good harvest of spring and milk mushrooms; if there are no swallows cold spring; the sky is dark, starless hens lay few eggs; if the snow does not melt on the roofs, then it will not melt until May 6, and a strong frost forty frosty matinees.

Palm Sunday (before Easter) (Entry of the Lord into Jerusalem) other names for this holiday: Week of Vay, Flower-bearing Week, Palm Sunday. Included in one of the twelve major Orthodox Church holidays. It takes place a week before Easter.history of the holiday: palm branches this is a symbol of the greeting of Jesus Christ when he entered Jerusalem, only in Jerusalem there were palm branches, but the function is the same. Traditions: collect willow twigs in the house, where they are placed near the icons for a whole year, then they are burned in the oven this is a symbol of the cleansing of the house from all evil. Rites on Palm Sunday: for health tap the illuminated willow branches on the body so that there is health for a whole year; for good luck you need to eat a willow bud before an important matter and drink it with holy water, then the important matter will be resolved safely; for wealth you need to plant a flower or a plant and this plant will bring money to the house, and if it withers you will be in poverty for a year.

Easter is celebrated at the beginning of spring (in 2015 April 12), the full Easter period lasts forty days before the Ascension Day.Easter celebrationthey start preparing for Easter on Sunday of Christ from Clean (Bright) Thursday, carry out general cleaning in all houses, visit a bathhouse before going to church, then baked Easter cakes and dyed eggs. On a bright Saturday with Easter cakes and Easter eggs, they went to the temple for Vespers, where they found them all night. Before midnight, bells were heard announcing the approach of the moment of the Resurrection of Jesus Christ. Going on a visit, they took dyed eggs with them. They greeted each other with the phrases “Christ is risen” - “Truly risen”, kissed three times and exchanged krashanki. Money was also distributed to the poor, illuminated eggs. Easter symbols are colored eggs, Easter baking and Easter cakes, Easter Bunny. Traditions: before the festive table, it is customary to pay tribute to the souls of the dead they put a pot of honey in front of the icon; egg shells should not be thrown away they were used for crops along with Thursday salt; put things in order in the houses, dressed in new clothes,Easter fun: beating boiled painted eggs (someone holds a pysanka in his palm with his nose up, on the contrary, the second beats him with the nose of the next egg, whose pysanka remains intact, then continues the competition); rolling eggs (rolling eggs on a flat surface, the essence of the game who will roll the eggs faster and not break them); “Game of piles” (two piles were poured out for each player, an egg was placed in one of the piles so that no one would see, others guessed which of the piles the egg was hidden in). Rituals for Easter : to be blooming, you need to wash yourself with water from a red egg; to be strong you had to stand on an ax; it was customary to collect well water, since it was considered magical, all the bones and scraps from the Easter table were preserved and buried in the soil for crops so that the future harvest would not be beaten by hail.

Parent Saturday (suffocating Saturday) the beginning of the Trinity. They commemorated the dead and baked pancakes. which were taken to the cemetery. On this day, they visited the cemetery, the remains of the evening meal were not removed from the table until morning, but covered with a tablecloth this is a sign of memory and food for the dead.

Trinity. Day of the Holy Trinity. Pentecost is fifty days after Easter. Celebrated on June 3rd. Also, according to beliefs, the feast of the Holy Trinity is considered to be the coming of the Holy Spirit to the apostles.Traditions and customs:two days before Trinity, Semik was celebrated, the symbol is a young birch. Houses were decorated with birch branches, the trees themselves were decorated with ribbons, beads, branches were woven into braids. Round dances were made around the decorated birches, songs were sung. All this symbolized the meeting with the summer. It is also a great tradition to weave wreaths from birch twigs. Before Trinity, it was believed that mermaids should swim ashore at night to find a groom, so swimming was forbidden. On this holiday in different villages "poplars were found". That is, an unmarried and most beautiful girl was chosen, she was dressed up and accompanied with singing and dancing this girl was called "Topol", she had to greet everyone and wish a great harvest.

Spirits Day or Earth birthday girl. Celebrated after Trinity. On this day, it was strictly forbidden to work on the ground. In many regions, on Spirits Day, they walked around the fields in procession. In the Vyatka province, there was a custom of the "Indian holiday", during which it was customary to feed the land. This was done by married women. They went to the field, where they had a meal, and the eldest buried pieces of food shallowly in the soil, saying: “Give us a harvest, Earth birthday girl!” In other regions, on this day, a birch was “developed”, that is, a ritual birch was taken out of the village, its braids were untwisted, decorations were removed, left in an open field or drowned in a river. There is also a custom to lower the wreaths into the water associated with the Trinity. On this day, it is also customary to collect medicinal herbs.

Rusal week (Trinity week) the week coincides with the Trinity. The name Rusalnaya tells about the settlement of the area by water maidens mermaids. In the old days, mermaids were feared, they believed that they would harm people. Customs and traditions: during the week, young people dressed up as mermaids and walked around villages and villages to scare passers-by. Whoever lost their cattle or something, then shirts and fabrics were hung on the fence to lure mermaids who could return the lost. The days of the Russian week had certain names. For example, Tuesday "soul wake" (people on this day call for mermaids); environment windbreak (it was forbidden to whiten canvases); Sunday nettle or mermaid spell (farewell of people to mermaids).

Green Christmas time the week before Trinity. After these Christmas time, the summer solstice (Midsummer's Day) was planned. The celebration of Green Christmas time: "walking in the zhito" - was determined by the growth of bread. (Girls in small groups examined the crops in the fields, made a fire in the meadow and fried eggs, spoons with eggshells were thrown up at the end of the meal so that the rye could grow even higher. They themselves tumbled right in the grass.); prayers were held with water blessing on the graves of people who became drowned; wedding of cattle (the shepherd brought two wreaths, one wreath was worn on the horns of a cow, the other on the mistress, then these wreaths were kept in a barn for the improvement of livestock; commemoration of each deceased was organized (in churches, cemeteries); a rite of passage of children from adolescence to youth, " kumlenie ”- a group of girls who approached wreaths hanging on trees (which they themselves hung before the ceremony) and crosses with colored eggs, through which it was customary to kiss, then there was an exchange of gifts and many turned into godfathers. Many ceremonies on Green Christmas time were performed for the speedy marriage of girls. Christmas games : many games were erotic in nature, for example, "wedding" - "groom" and "bride" were appointed, then the wedding was played, right up to the wedding night. When Svyatki ended, people went to church to pray to ask God for forgiveness for the atrocities at Svyatki.

Petrov Day was celebrated on June 12th. On this holiday, Peter and Paul are honored, the Kupala celebrations of the “crown of summer” and summer weddings are ending, and they are intensively preparing for haymaking.Traditions and ritualson Peter's Day they recreate not only the Christian story of Peter and Paul, but also the customs of worshiping the Sun. The custom of "watching the sun" - the inhabitants of the villages went to the outskirts of the village, chose the most elevated place and peered into the heavens, waiting for the sunrise. Until dawn, they burned bonfires, on which they cooked porridge, danced songs, and had fun. Also on Peter's Day they "played a wedding", the youth that day was outrageous (running through the streets, making noise, blocking the road with barrels, harrows, tubs, young men pulled stakes from hedges, took everything that was "bad" lying, climbed into the gardens and gardens, plucked fruits) all this was aimed at identifying and expelling evil spirits. Nature on Peter's Day was preparing for the autumn season.

Ivan Kupala (Ivan's Day) was celebrated on July 7, the day of the summer solstice. This celebration is dedicated to the Baptist of the Lord John the Baptist. This holiday is associated with ablution, purification in rivers and lakes of people.Rites for Ivan Kupala: the main forces on the night of Ivan Kupala were: water, fire, grass. Ritual associated with water bathing in water (healing, cleansing, health promotion). Rites with fire lighting fires along the banks of rivers and lakes, they jumped over them, they danced around them, they also drove cattle between Kupala bonfires so that they would not be overtaken by death and disease. Mothers burned linen and things taken from sick children in bonfires. That night it was impossible to sleep because of rampant evil spirits. It was also customary to set fire to wooden wheels and tar barrels that rolled down the mountain or were carried on long poles, symbolizing the solstice. Rite with herbs the collected grass was placed on the bathing dew, dried and stored, so these herbs had healing properties; finding a flowering Fern; girls lowered wreaths on the water in order to find out what their future life would be like. Beliefs - people locked their horses that night so that witches would not steal them; ant oil was collected from anthills; flowers of Ivan yes Mary were laid out in the corners so that the thief would never get into the house.

Day of Elijah the prophet Elijah's day. Celebrated on 2 August. St. Elijah was regarded as the master of thunder and lightning. In all the traditions, Elijah the prophet was described as expressing God's wrath. People were afraid of this day. Customs: on this day (August 2), neither cats nor dogs were allowed out of the houses, so that unclean spirits would not sneak into the dwelling; it was forbidden to be in the water during a thunderstorm, shout, sing; fishermen threw out all the fish caught on Ilyin's day; windows were curtained, lamps were lit; people should all be in hats (scarves). Prohibitions on Ilyin's day: on this day and after, swimming in reservoirs is prohibited; cattle were not driven out to pasture. It was only allowed to take care of the bees. After Ilyin's day, people begin to say goodbye to summer, they harvest in the fields.

Honey Savior is celebrated on August 14, on this day it is customary to break the fast with honey, fairs with entertainment are held. This is the first of the Saviors, he was also called the "gourmet" or the Wet Savior (Maccabee). On this day, it was customary to help all the poor, orphans, widows, not for money, but for refreshments. "You for yourself, we for you, and Christ Savior for all of us!" on this day, the sowing of winter crops begins, the first cold dew falls.

Apple Spas second. Transfiguration. Celebrated on 19 August. The collection of apples begins, which are illuminated in the church. In the evening, the youth went to the outskirts, where they watched the sunset and sang a song that glorified the Sun.

The Third Spas the Feast of Salvation is celebrated on August 29th. He also calls Khlebny Savior in another way. This Spas is celebrated very cheerfully with fairs. The housewives baked bread from the new harvest of flour. There is also a variant of the Nut Savior, as the nuts ripened, and their collection fell. Most of the fairs were agricultural. That is, each village, village showed their rich harvests.

The Dormition of the Most Holy Theotokos is celebrated on August 28, a feast that bestows the faith of eternal life. "Assumption" is interpreted as a dream, which implies a further awakening. The harvest had to be completed by that day. The Day of Agriculture is also celebrated, the results of the harvest are summed up, laudatory songs about bread are sung. In some regions, the rite of "closing the furrow" is performed.

All these holidays are interpreted as folk holidays and are honored by the Russian people.

1.3. Methodology for conducting a Christmas theatrical performance.

A special place in the theatrical festive and ritual action is occupied by folk traditions and folklore, which are wealth developed by generations and conveying historical experience and cultural heritage in an emotionally figurative form. In the cultural and creative conscious activity of the broad masses, folk traditions, folklore and artistic modernity merge in a single channel. This activity becomes an integral component of the way of life of people, the development of festive and ritual culture in Russia.

As you know, a way of life reflects not only a certain mode of social production, the specific features of a particular socio-economic formation, but also the cultural and ethnic heritage of each people, the social content of people's lives, forms of their behavior, customs, mores that correspond to the dominant type of social relations. That is why the educational potential of folk traditions and folklore is so relevant today. They make it possible to rid the festive and ritual action of passive entertainment, to turn theatrical forms of artistic and mass work into socio-cultural amateur performances of people, limitedly associated with their work, life, and all life activities.

For a clearer understanding of the methodology for using folk traditions and folklore in a festive ritual action, one should turn to understanding the artistic specifics of the Russian folklore theater, as one of the types of folk art, outlined by the scientist folklorist V.E. Gusev. The author first of all emphasizes the collectivity of the creative process, based on universal improvisation as the basis of such a theater.

Thus, considering the possibilities of using folk traditions and folklore in a festive action, we must clearly understand that in the scenario and director's plan they represent for us a special toolkit that can exist and develop independently, outside the works of collective folk art. This approach allows us to program the active involvement of the audience in a theatrical performance based on an original, modern, plot-shaped interpretation of folk traditions and folklore.

The following types of vigorous activity can be distinguished, which are characteristic of the theatrical folklore action based on the established folk traditions:

1. Costume dressing of participants, stimulating their activity, acting as a kind of driving force for the theatrical folklore performance. A costume, a mask, props, combined with facial expressions and gestures, become a certain sign system, a language code, under the influence of which there is a merger of practically real and conditionally ideal behavior.

2. Collective improvisation, which is a spontaneous artistic reaction of a person to a celebrated event and is expressed in choral singing, mass dances. For folk art of a traditional nature, choral and dance improvisation. It is always colored emotionally and therefore can serve to convey feelings, attitudes towards a particular event. All this makes choral or dance improvisation the most important structural element of folklore action.

3. Artistic and creative, sports, competition in the form of a game competition, a series of demonstration performances, a theatrical fight is characteristic of the structure of any folklore action, has a competitive, sometimes comic character.

4. Ritual action, which is an obligatory structural element, a specific feature of any theatrical festive action based on folk traditions and folklore. The use of a ritual action is associated both with calendar holidays, such as the meeting of spring, the arrival of summer, seeing off winter, and with the performance of certain ritual actions of the labor cycle: plowing the first furrow, the end of harvesting, driving cattle to a clearing, and so on.

Summarizing what has been said, the following methodological features of the use of folk traditions and folklore in a theatrical festive action should be singled out.

1. They can serve as a deep, serious basis for the "revival" of historical events, life, customs, while relying on the psychological needs, vital interests, artistic and aesthetic needs of the celebrating community.

2. Folk traditions and folklore can become the basis for creating a festive atmosphere in which their constant combination with modernity is necessary, which fills the theatrical action with a figurative form and patriotic content.

The use of folk traditions and folklore in organic unity with the choice of the place and time of the theatrical action enhances their emotional impact, creates the necessary mood for the participants, expands their circle of communication, stimulates the channels of manifestation of activity, pushing the boundaries of the holiday.

The holiday was always thought by our ancestors to be animated and spiritualized: he “came in” and “left”, he was met (eve) and seen off (burned, buried, thrown into the water). It was personified by various material symbols and personifications: a stuffed carnival or a Mermaid, Kolyada (a girl or a young man), a peasant Kostroma.

To prepare and conduct a Christmas theatrical performance, you need to study the history of Christmas. On December 25, one of the most significant holidays of the Slavic folk calendar began - Kolyada. Winter Christmas time is the most cheerful of the Slavic festivities. Later, the Kolyada feast was replaced by the great feast of the Nativity of Christ. However, among the Slavic peoples, Christmas is still combined with Kolyada. And all the Eastern Slavs preserved caroling as a complex of Christmas rites. Almost all of these rituals came to us from a deepancient times, when carolers acted as the spirits of ancestors, visiting their descendants and bringing a guarantee of a fruitful year, prosperity, prosperity. At Christmas they went with children, carried a nativity scene with them, showing performances on gospel stories.

The ceremony of caroling was fun, with laughter, dancing and full cups, good gifts and a real sense of celebration. The participants of the fun had to be able to dance, drive round dances, bridges, sing songs. Preparations for the theatrical game began in the fall, when all the participants were looking forward to these winter carol nights in order to laugh and dance to their heart's content.

The word "carol" is the root of the Latin word. "Kalenda" - the first month or the first of the year, hence the word "calendar" appeared. The concept of the establishment of a new era is associated with the birth of Christ, which has long been calculated "before and after the birth of Christ."

Carol is a common Christian song that appeared in the days of the birth of Christianity. Caroling means to sing carols. But there are also Vasilevsky carols, that is, this is a song in honor of the new year. The first day of the Old New Year is St. Basil's Day. Carols in honor of Vasily's Day are sung under the windows.

Caroling at Christmas is a whole performance with its own script and costumes. Clothing for Christmas carols can be very different, but costumes of animals and biblical characters are traditionally used. Clothing should be bright. The main character in the Christmas performance Zvezdar. It is he who sings the most carols and communicates with the owner of the house. The attribute of the Zvezdar is a star, it should be octagonal, reminiscent of Bethlehem.

The second hero after Zvezdar Mekhonosh. This hero is responsible for the bag in which gifts and money were put. The bag is of particular importance in caroling, because according to an old custom, carolers cannot accept gifts and offerings from hand to hand from the owners of the house, so they themselves must put their offerings in the bag.

The goat is also a symbol of Kolyada. A young guy dressed in a goat costume, who danced in front of the owners of the house. This symbol means fertility, a rich harvest, protected the house from evil forces.

The caroling itself takes place in several stages. Initially, approaching the master's house, carolers sing songs sayings, the meaning of which is to appeal to the inhabitants of the house with a request to carol at them. The second stage takes effect if you are lucky and the whole company is allowed into the house. The carolers sing songs addressed to the owners of the house with best wishes to all members of this family. The final stage short benevolent verses, as well as asking for gifts for their work in a song-joking form. For example,

Carols, carols, carols, fun and rich.

Seysya, was born, rye and wheat,

Barley, oats, buckwheat, peas, lentils.

Be healthy, be happy.

Live without trouble for many, many years.

Carols, carols, carols, fun and rich

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